The holiday spirit descended upon Savannah a little early this year, much to the joy of each of its beneficiaries. "So This is Christmas," the Cardinal Rep Christmas program, is truly a gift under the tree this season.
For lack of better terminology, one can call this work a music revue... or perhaps something of a cabaret. But no matter what tag it bears, it is a great deal of fun. Ryan McCurdy uses his extensive musical talents on pieces ranging from A Nightmar Before Christmas, Vince Guaraldi's Peanuts Themes, and Christmas in Sarajevo from the Trans-Siberian Orchestra. Backed up by various members of the Cardinal Rep family, the evening reaches heights of true Christmas joy.
Valerie Lavelle begins the evening by outlining other holiday offerings, panning numerous elementary school pageants with the sort of gusto all theatre critics wished they had. Sheila Lynne provides an entertainingly depressing rendition of Frosty the Snowman, and Phil Keeling not only plays guitar ably, but is delightfully disturbing in his turn as grandmother Christmas.
But more importantly, this is an evening "with the Cardinal Rep family." Given that this is embraced, it lends a very tribal and inclusive feel that has marked Cardinal Rep's best work. Indeed, the only criticism falls on the calendar... that we will be waiting another year for the next holiday evening with the Cardinal Rep Family.
Wednesday, December 24, 2008
Saturday, December 13, 2008
Doubt: A Parable: Cardinal Rep
"What do you do when you are not sure?" This question begins John Patrick Shanley's Pulitzer and Tony Award-winning powerhouse Doubt: A Parable. It is a good question, one that resonates through Shanley's writing. However, Cardinal Rep's production of Doubt: A Parable, closing their 2008 season under the direction of Ms. Sheila Lynne, essentially answers this and any other question the audience might have.
Centered on the issue of ecclesiastical pedophilia, Doubt: A Parable tells the story of one Father Flynn, who is suspected of sexual misconduct with one of the parish altar boys. Perhaps one of the greatest strengths of Shanley's writing in this case is that he is remarkably evenhanded. Given the 2004/2005 writing and performance history of the show, coming during one of the major upswings in a longstanding issue (John Geoghan, a defrocked priest and convicted molester, had been killed in prison in 2003, and Paul Shanley was convicted in 2005), it would be all too easy to grind Father Flynn beneath a literary boot. However, Mr. Shanley's writing manages to present each character's point of view reasonably... thereby keeping doubt, and Doubt, very much alive.
However, as stated earlier, this production has the unfortunate auspice of answering the questions all too clearly. Father Flynn (played by Mark Rand), is immenently likeable and immenently wronged by a crusading Sister Aloysius (played by Dandy Barrett). However, instead of a righteous avenging angel, Ms. Barrett comes across as a crushing steamroller, obliviously trampling not only Father Flynn, but any who cross her path. And herein lies one of the central rubs of this production, the audience is not convinced that Sister Aloysius is acting in good faith. Instead, she often comes across as a hellbound version of the No Child Left Behind statute made into flesh and sewn into a wimple.
Despite this, there is ample opportunity to continue to raise doubts. When Sister Aloysius interviews the boy in question's mother, Mrs. Muller (played by Lakesha Green), the issue arises that the boy himself might be gay, and that Father Flynn, as opposed to preying on him, is simply reaching out. If this idea could properly been given wings and lofted, there might then have been doubts on the part of the audience. However, Ms. Green utterly fails to provide the needed thrust and simply comes across as putting forth absurdity in order to dodge a meeting with her son's school principal.
Thus, one should not only have doubts, but should be fully immersed in them. Is Father Flynn a predator? Is father Flynn even remotely well-meaning? Is the Muller boy in need of an understanding hand because of his sexual orientation? And yet, Ms. Lynne's interpretation either clearly answers the questions, or fails to put them forward for consideration. The result is ultimately unsatisfying.
Which brings us, in passing, to other issues. The satisfaction of a theatrical community, the ability to be involved in work, is important. And the fact that this show was simply pre-cast, and filled out without the benefit of auditions, does not sit well. In the building of a theatrical community, the need for engagement with artists is required. Simply not holding auditions sends a very clear message that one is not interested in the possible input of others. While it is no sin to have a cast in mind, auditions must still be held, if only for the sake of appearance. Otherwise, there is a very clear message of elitism... one that exacerbates this production's inability to deliver. And there are some very real, practical reasons for auditions to be held. Cardinal Rep stalwart, Valerie Lavelle, turned in an uncharacteristically flat performance as Sister James. While the role is ouside of her usual repertoir, is is not outside of her ability. However, Ms. Lavelle has also been wildly overworked recently. Auditions may very well have helped find somebody as capable and better rested.
Further, theatre today must engage with its audience, and violation of the audience/show conventions must be undertaken with great care. Baz Kershaw wrote in Modern Drama of a very real expectation on the part of the audience during the curtain call. Indeed, the expectation of being able to honestly thank the cast, and have them accept those thanks, does much to build goodwill. The use of a "tableux curtain call" in this production smacks of a certain disregard for the audience. Indeed, the same was done in Ms. Lynne's production of McDonagh's The Pillowman with the same ungrateful effect. In an attempt to seem edgy, or stylish, the audience is distanced. That distance is not something that the Savannah theatre community can easily afford, and it may be that Ms. Lynne is spending on credit.
However, this production does manage to find some bright points. Mr. Rand is truly moving as the infinitely likeable and utterly wronged Father Flynn. Indeed, much satisfaction that is lost in the overall interpretation is fished back out by Mr. Rand in terms of sheer enjoyment during his sermons and lectures. Ms. Lavelle, though she does not manage to hit the "forbidden fruit" tone in her uncertainty each time, plays the pupil to Ms. Barrett's mistress effectively. However, in a textually driven piece like Doubt: A Parable, solid likeability by the actors, and a will to like it from the audience, is insufficient.
Centered on the issue of ecclesiastical pedophilia, Doubt: A Parable tells the story of one Father Flynn, who is suspected of sexual misconduct with one of the parish altar boys. Perhaps one of the greatest strengths of Shanley's writing in this case is that he is remarkably evenhanded. Given the 2004/2005 writing and performance history of the show, coming during one of the major upswings in a longstanding issue (John Geoghan, a defrocked priest and convicted molester, had been killed in prison in 2003, and Paul Shanley was convicted in 2005), it would be all too easy to grind Father Flynn beneath a literary boot. However, Mr. Shanley's writing manages to present each character's point of view reasonably... thereby keeping doubt, and Doubt, very much alive.
However, as stated earlier, this production has the unfortunate auspice of answering the questions all too clearly. Father Flynn (played by Mark Rand), is immenently likeable and immenently wronged by a crusading Sister Aloysius (played by Dandy Barrett). However, instead of a righteous avenging angel, Ms. Barrett comes across as a crushing steamroller, obliviously trampling not only Father Flynn, but any who cross her path. And herein lies one of the central rubs of this production, the audience is not convinced that Sister Aloysius is acting in good faith. Instead, she often comes across as a hellbound version of the No Child Left Behind statute made into flesh and sewn into a wimple.
Despite this, there is ample opportunity to continue to raise doubts. When Sister Aloysius interviews the boy in question's mother, Mrs. Muller (played by Lakesha Green), the issue arises that the boy himself might be gay, and that Father Flynn, as opposed to preying on him, is simply reaching out. If this idea could properly been given wings and lofted, there might then have been doubts on the part of the audience. However, Ms. Green utterly fails to provide the needed thrust and simply comes across as putting forth absurdity in order to dodge a meeting with her son's school principal.
Thus, one should not only have doubts, but should be fully immersed in them. Is Father Flynn a predator? Is father Flynn even remotely well-meaning? Is the Muller boy in need of an understanding hand because of his sexual orientation? And yet, Ms. Lynne's interpretation either clearly answers the questions, or fails to put them forward for consideration. The result is ultimately unsatisfying.
Which brings us, in passing, to other issues. The satisfaction of a theatrical community, the ability to be involved in work, is important. And the fact that this show was simply pre-cast, and filled out without the benefit of auditions, does not sit well. In the building of a theatrical community, the need for engagement with artists is required. Simply not holding auditions sends a very clear message that one is not interested in the possible input of others. While it is no sin to have a cast in mind, auditions must still be held, if only for the sake of appearance. Otherwise, there is a very clear message of elitism... one that exacerbates this production's inability to deliver. And there are some very real, practical reasons for auditions to be held. Cardinal Rep stalwart, Valerie Lavelle, turned in an uncharacteristically flat performance as Sister James. While the role is ouside of her usual repertoir, is is not outside of her ability. However, Ms. Lavelle has also been wildly overworked recently. Auditions may very well have helped find somebody as capable and better rested.
Further, theatre today must engage with its audience, and violation of the audience/show conventions must be undertaken with great care. Baz Kershaw wrote in Modern Drama of a very real expectation on the part of the audience during the curtain call. Indeed, the expectation of being able to honestly thank the cast, and have them accept those thanks, does much to build goodwill. The use of a "tableux curtain call" in this production smacks of a certain disregard for the audience. Indeed, the same was done in Ms. Lynne's production of McDonagh's The Pillowman with the same ungrateful effect. In an attempt to seem edgy, or stylish, the audience is distanced. That distance is not something that the Savannah theatre community can easily afford, and it may be that Ms. Lynne is spending on credit.
However, this production does manage to find some bright points. Mr. Rand is truly moving as the infinitely likeable and utterly wronged Father Flynn. Indeed, much satisfaction that is lost in the overall interpretation is fished back out by Mr. Rand in terms of sheer enjoyment during his sermons and lectures. Ms. Lavelle, though she does not manage to hit the "forbidden fruit" tone in her uncertainty each time, plays the pupil to Ms. Barrett's mistress effectively. However, in a textually driven piece like Doubt: A Parable, solid likeability by the actors, and a will to like it from the audience, is insufficient.
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