Mary Jane: The Next Generation (A Review)

A Sharper Focus for Dell’Arte’s Musical Extravaganja

Last summer’s Mary Jane: The Musical was a box office success that many more people wanted to see than could, so bringing it back this summer made sense—especially with recessionary blues still playing in the background. It was also an opportunity to shape a sharper evening, as well as add some new songs and more dancing. So Mary Jane, Queen of the Emerald Ball returns with most of the original cast in a show about the business and culture of cannabis in Humboldt. Mary Jane: The Musical 2012 is now onstage in the outdoor Rooney Amphitheatre at Dell’Arte in Blue Lake.

They’re back: the Humboldt Honeys, the Bollywood finale with Pratik Motwani, Tim Randles’ “Why Is Whiskey Legal and Pot Is Not” and an even sweeter, breathtaking duet by Joan Schirle and David Powell on Lila Nelson’s “Grow Inside.” There are elaborate, acrobatic new dance routines choreographed by Laura Munoz. Joan Schirle (as Mary Jane) is again a better world’s bona fide Broadway star.

But for all the energy and exuberance, the content tips towards a darker assessment. Dell’Arte’s call to the public to contribute ideas for this year’s edition resulted most specifically in a new song, “The Trimmers’ Flamenco” by Tim Randles, about the women employed to trim the outer leaves from the cannabis buds. Other comments, especially relating to Mary Jane’s song about her son, led to major new themes: the effects on children as well as legacies and responsibilities for the future.

There’s not much nostalgia this time. It was pretty much over in the pre-show song set, with Powell’s powerful singing of the John Lennon wordless vocal center of “A Day in the Life,” and its innocent ecstasy and wistful wonder as well as the pain of awe and longing, those foregone possibilities.

Mary Jane replaces reminiscence with reevaluation. While last summer she called the local situation “complicated,” she describes the year since as “one big eco disaster all around. I mean, like the price has hit the floor, the feds are pouring in, the clinics are getting squeezed...” Soon it’s all reminding her of the Gold Rush: “Folks discover something valuable that is just laying around on the ground, everybody rushes in, takes what they can, leaves a wreck behind...”  Last year she introduced old friends who bantered about their common past. This year those friends are moving on and away.

What they leave behind is the devil or the deep blue sea—the black market greed of “The Industry” or the legalized corporate greed of “This Bud’s For You” and the corporations’ intent to “corner the market/legalization’s opened up.” (both songs by Scott Menzies.) “Rasta Tea Party” by Zuzka Sabata opts for the current situation:“We need to keep the black market free/ No need to live in debt slavery.” Either way, it’s the rule of “Green Like Money” ( also by Zuzka Sabata): “I’m false like smoke/I’m empty hope.” But complete withdrawal is also disastrous, leaving nothing but a “Ghost Town”—a song by Joani Rose: “A ghost town, when the pot money stops/A ghost town, when the pot bubble pops.”

When Mary Jane’s estranged son appears and she meets her infant granddaughter, the focus moves to the effects on the next generation, as in Sabata’s new song “Officer and Child” about being taught to lie and hide. “Innocent no more”—a phrase in this song repeated in Randles’ “Nightmare”—might be this year’s subtitle.

    But the voice of experience is not hopeless, and as in many ancient and modern myths, it is the elder who guides to the future. Mary Jane rallies in an eloquent final speech: “I am tired of living in the shadows...I am tired of profit over people...My mantra is—never leave your consciousness at the door.”

The presence of Mary Jane’s son, also a grower, gives a stronger and more personal connection to “The Industry” that was simply implied last year, as the struggle of the second cannabis generation. The introduction of a son and grandchild also cries out for human interaction and emotion (especially in a musical) but I felt a lack of that in the opening night performance, as well the usual spontaneity.

  Otherwise this is a more cohesive, confident, resonant and haunting update, as well as upping the entertainment quotient. Michael Fields skillfully guided the script and staging, Daniel Spencer is scenic designer, Lydia Foreman the costume designer, Michael Foster designed lighting. Musical director Tim Randles joined by players Marla Joy, Mike LaBolle and guitarist Dan Perez comprised the ever-excellent band. Returning members of the dashing cast not yet named are Ryan Musil, Zuzka Sabata, Joyce Hough, Janessa Johnsrude and Meridith Anne Baldwin, joined by Jacob Trillo. Fred Neighbor didn’t return, and he and his character are missed.

    This is the final weekend for Mary Jane: The Musical at the Mad River Festival.

March Muse: Don't Bogart That Script

It’s been disturbingly like summer on the North Coast, though it’s actually only March. Meanwhile Dell’Arte is starting to prepare this summer’s Mad River Festival show, which is going to be...last summer’s Mad River Festival show. Only different. And the difference may be...you.

"Mary Jane: The Musical was the biggest grossing show in a single run we’ve ever done,” said Producing Artistic Director Michael Fields. “And some people still didn’t get to see it.”

 So that’s one impetus for reprising it this coming summer, as is an unusual circumstance for such a large cast. “Everybody who was in the show last year is available to come back,” Fields said. “Even our graduate students. It’s never happened before.”

 But there are a couple of other compelling reasons. First and foremost is the community’s deep interest in the topic, the Humboldt marijuana industry that was recently estimated as generating an astonishing one billion dollars for the county economy.

 The second reason is artistic. “Last summer we were just trying to get material on stage that allowed people to think about it,” Fields said. “Now we can develop it more, deepen it, especially the characters and relationships.”

 Dell’Arte’s artists can deepen the story, but they decided to seek help in broadening it. They’ve posted last year’s script online, and are asking anyone with an idea, a suggestion or even a song to email them. These contributions are posted at the end of the script, and taken into consideration as the revised show is being developed.

 The contributions received so far have included song lyrics and even music in Mp3 files and a CD. “We’re trying to make a bigger conversation with the community,” Fields said. “We really want people to write stuff down, so we can get a broader perspective.”

 For example, several contributions posted so far suggest portraying the trimmers. Someone noted that Mary Jane mentions her son, but he’s never seen. Why not more about him? Fields noted that when Joan Schirle (as Mary Jane) sang Joani Rose’s song “My Son” for the production’s visit to the Hempfest in Garberville in November, “people were weeping,” particularly in response to such lyrics as “He was by my side, the very first time I put a seed in the ground.” So this suggestion is likely to result in an addition to this summer’s version.

 Additions also mean there will be some subtractions. “We know we’re keeping the key songs,” Fields said, like Tim Randles’ “Why is Whiskey Legal and Pot is Not?” and Scott Menzies’ “The Industry.” And though there will be some topical updates to 2012, it will all still be set at the Emerald Ball. But what’s different will depend in part on what suggestions are received.

 “We’re also doing this show for three weeks instead of two,” Fields revealed. So to participate in creating this show, you can start at www.dellarte.com/maryjane, which will link you to the script and the suggestions posted so far. You can contribute directly by emailing info@dellarte.com.

 Coming Up:

Opening Thursday at 8: A performance by Rudi Galindo (Artistic Director of  Teatro Pachuco and Los Payasos favorite) and dancer-choreographer Lisa Da Boit called All Fall Down, described as a site specific event with no text, a love story about the Twin Towers interwoven with a legend of the man who takes care of the moon.  It's at Dell'Arte's Carlo Theatre, continuing through Saturday evening.  Tickets through Dell'Arte.

Beyond the weekend, there's a free reading by Conrad Bishop and Elizabeth Fuller of Independent Eye from their newly published memoir on Monday at 7 p.m. at the Arcata Playhouse.

Opening last weekend and continuing until March 26 is the tenth annual spring production at College of the Redwoods, a reprise of the first play in the series, Moliere’s comedy The Miser. It reunites the same creative team of Kjeld Lyth (director), Daniel Lawrence (scenic design) and Denise Ryles (hair & makeup.) It’s onstage at CR’s Forum Theater Thursdays through Saturdays at 8 p.m., and Sundays at 2. Tickets at CR Bookstore or at the door.

 Ferndale Repertory Theatre presents a limited run, North Coast premiere of the musical [title of show.] Yes, that’s the title of the show: it’s about two struggling young artists assembling a show for a musical theatre competition. Written by Jeff Bowen (music and lyrics) and Hunter Bell (book), it had a 100-performance Broadway run in 2008. The Ferndale production features Philip De Roulet, Craig Waldvogel, Elena Tessler, Jo Kuzelka and Laura Welch. It runs just two nights, but on successive weekends: this Friday (March 16), and next Friday (March 23) at 8 p.m. Rated PG-13. (800) 838-3006, www.ferndale-rep.org.

 This weekend Dell’Arte International’s first years present the results of their immersion in melodrama (in class at least) called Saved At Last From the Awful Flood of Life. Seven pieces seek to exemplify the struggle pitting loyalty, honor and justice against deceit, greed and intolerance—and the good guys win! There’s an opening night benefit for International Student Aid on Thursday at 8 p.m., with tickets at $25. Friday and Saturday shows are pay-what-you-can. (707) 668-5663 or www.dellarte.com.

 On Friday (March 16) the Arcata Playhouse starts its sixth annual Family Fun series with Japanese storyteller Kuniko Yamamoto in Magic Mask, Mime and Music of Japan at 7 p.m., with Saturday shows at 2 p.m. and 7. Future family-friendly shows in the series bring Faustwork Mask Theater in April and San Francisco’s Sweet Can Circus in May. Tickets can be purchased at Bubbles, Wildberries Marketplace and Redwood Yogurt in Arcata, or online through brownpapertickets.com. More information: (707) 826-1575, arcataplayhouse.org.

 For your long-range planning, North Coast Repertory Theatre opens Shakespeare’s comedy Much Ado About Nothing on March 29.