Love Letters: Little Theatre of Savannah

Put people at a desk and have them read to the audience. Could be a particularly bad university lecture, could be a revival of the work of Spalding Gray, or it could be The Little Theatre of Savannah's production of A.R. Gurney's Love Letters.

Though The Savannah Dramaturgy may be a touch behind on the coverage for this piece, there are still a number of things that bear stating about this particular evening of theatre. In essence, this production demonstrates the power of a stripped down piece. Two people, and they connect.

Though there were two casts who served on a rotating basis, this reviewer only managed to get in to see the combination of JinHi Soucy Rand and Mark Rand. These two actors have demonstrated, once again, the reason they have been reliably entertaining Savannah audiences under a variety of banners. Mr. Rand performs with the same warmth and charm that made it impossible to believe in his guilt in Cardinal Rep's recent production of Doubt. JinHi embodies the freewheeling spirit of the formerly WASPy artist Melissa to the point that she truly does dance, even while seated.

Though they move little, one thing that the audience cannot help but notice is their ability to react to one another as the turn the pages of the letters. As each letter is turned over (and they are ably read, but not obviously or glaringly so) we watch as Melissa and Andy steadily and gradually age from note-passing elementary schoolers to Senate and psychosis.

Though credited with having a director (Jeroy Hannah, who also played Andy on the alternate nights), this cast hardly needed one, carrying the day with innate grace and the ability to truly listen to one another that must only be born out of deep partnership. Despite a general lack of utility, Mr. Hannah's director's note from the program does manage to use a lot of big words.

Love Letters seems to be following in a rash of smaller, intimate shows from a variety of Savannah theatres. Much like Cardinal Rep's Laughing Wild, this gives us a chance to sit down with some of our talent. Though larger shows (Catch-22 or Wait Until Dark) rpovide opportunities for work, closet shows like this have a capability all their own.

Lets Try It Again: Nederlander to Produce Thriller

Listening to NPR this morning, I nearly ran off the road with the announcement from the Nederlander Organization that they have acquired the Broadway rights to none other than Michael Jackson's Thriller. Yes, that's right... thriller.

Pop music musicals have been tried before, with mixed success. Lennon (John Lennon) and Ring of Fire (Johnny Cash) both flopped quickly with six week runs, Good Vibrations (Beach Boys) managed a full two months, and All Shook Up (Elvis) hung on for a full four months. One could compare this with Abba's Mama Mia, however, and see that there might be some hope for Nederlander.

In essence, the musical will utilize Jackson's music to tell the story of boy meets girl, boy has a big secret (He's a werewolf). The plotline is based off the a short film by the same name originally produced in 2008 in order to commemorate the 25th anniversary of the groundbreaking music video.

Reports hold that Mr. Jackson will be "very involved" in the production. The question of whether this is positive or negative will remain to be seen.

The New York Daily News article on the announcement can be had here.

The Complete Works of William Shakespeare (Abridged): Savannah Cultural Arts Theatre

The works of William Shakespeare, along with certain religious texts, have been perpetual favourites in the race to identify canonical texts. Indeed, some have even pointed to their spiritual transcendancy and nearly sacred nature. But really, they're plays. Good plays, but plays nonetheless.

And it is with just this healthy outlook that the cast of The Complete Works of William Shakespeare (Abridged) approach the writings of the bard and do much to pull down this false altar and dispel some time-worn shibboleths. Though Shakespeare is certainly a talented and important writer, this is no reason to lose one's head, and the cast, under the direction of Ellie Pyle, delivers a cure to this in horse-doctor's doses.

The three-man cast (Ryan McCurdy, Phil Keeling, and Darwin Hull) play exceptionally well together, rendering the works of Shakespeare not only accessible but also immenently enjoyable. Mr. Keeling pontificates on the virtues of the Bard with airs that give even us here at The Savannah Dramaturgy pause, holding forth in a style that not only indicates that he is familiar with Shakespeare, he is familiar enough to hold a little contempt. Mr. Hull, though muddy at times, comes across as enthusiastic and likeable in his attempts to tell these stories. Indeed, carrying such a play (they do, after all, cover the complete works of William Shakespeare) is much akin to a literary clean and jerk, and we look forward to more from Mr. Hull as he builds muscle. Mr. McCurdy delivers a delightfully disturbing performance as almost every single woman from the Shakespearean canon, and is capable of playing the audience with the same skill he brough to bear on his keyboard in Cardinal Rep's productions of The Rocky Horror Show.

These kinetic actors have been yoked (loosely) by the City of Savannah's new Theatre Arts Coordinator, Elizabeth (Ellie) Pyle. In her debut with the City's Cultural Arts theatre, Ms. Pyle seems to have performed a wonder akin to herding fruit bats. Further, by leavening a script originally created in 1987 with fresh popular culture (The Titus Andronicus/Cooking Show segment is translated from Julia Child to Paula Deen, for example), Ms. Pyle manages to keep things fresh.

Though they are to be applauded, the pedant within this author must shake his head slightly at the attitude with which the texts of Shakespeare are treated. In order to truly make fun of something, one must both understand it and love it. It does become obvious, at times, that the cast members are unfamiliar with the material with which they are dealing, and as such their satirical guffawing simply becomes snarky.

The second issue raised by this production has a great deal more to do with society more generally. If I recall correctly, this play is entitled The Complete Works of William Shakespeare (Abridged). It is not entitled The ALMOST BUT NOT REALLY Complete Works of William Shakespeare. And yet, upon attending this production in its second weekend, this author was most disturbed to find that the treatment of Othello to have been severely truncated and, in some ways, even more severely castrated. In the original script, after a disatrous treatment of "One who loved too well..." with the actor in the guise of a habrour quay, Othello is to be summed in a rap. I found, much to my chagrin, that the rap from the script (which had also been seen in rehearsal by this author) was quite simply gone.

At this point, The Savannah Dramaturgy must ask why this change was made. Evidenced by the fact that the rap had been utilized in rehearsal, along with grapevine discussion in the city's theatrical community, the rap was cut at the behest of the city's officers or bureacrats. Dramaturgically speaking, Othello needed some form of "real" treatment akin to that accorded Romeo & Juliet, Hamlet, or even Anthony and Cleopatra. And yet, it was not afforded such and was instead swept under the rug.

This was, on the part of the city, a cowardly and pandering move. Let us presume, for a moment, that the chief objection to the Othello treatment is based in being racially offensive. For the city to have simply excised the rap, as opposed to allowing the theatrical community to bring it out into the open and then (heavens forbid) actually discuss the content if the audience was offended. By eliminating the rap, the city has denied our community the opportunity to actually deal with such issues should they arise. Instead, a preemptive strike was made and the play suffers. While some might argue that Savannah's tax dollars are not being spent to offend people, The Savannah Dramaturgy counters that they should not be spent to cover up public discourse. It is a true shame that dramaturgical sense was not employed in this decision, and instead there was a mere avoidance of possible contention.

Chatham, meet Cuyahoga. Now, fund the arts!

The New Year is a time of New beginnings. We here at The Savannah Dramaturgy have, in the spirit of the holiday, decided to establish a new tradition. Since this is our first January, it does make things rather simple to do. So, without further ado, we are proud to present our first ever kickoff editorial.

When recently browsing the internet in search for the latest theatre news, I stumbled across this little bit from the Cleveland Plain Dealer: http://www.cleveland.com/entertainment/index.ssf/2008/04/cuyahoga_county_cigarette_tax.html.

Cuyahoga County has seen fit to use a sin tax, or vice tax if you prefer, to help fund its already solid arts community. And, well, if Cleveland can do it... why not Savannah? Such funding for the theatres and cultural organizations (museums, orchestras, etc.) would help to keep Savannah strong as a tourist destination.

Indeed, at the end of the day, it is shameful how little support our theatres get from the community itself. At least, in terms of fiscal support. Savannah, one of the cultural jewels not only of Georgia but of the South more generally, does not have a professional theatre. I will stop a moment here to note that the Savannah Theatre on Chippewa Square, though financially solvent, does not fit our definition of a full theatre, having a repertory of maybe five shows (primarily revues or cabaret numbers) and highly insular practices. This lack is, quite simply, shameful in a city such as our own.

Why does Savannah lack a professional stage? It is not a lack of talent, there are people here (if we can get them to stay). It is, simply, a lack of capital. If a transient, tourist-populated island like Hilton Head can support a full-blown Equity company, Savannah can most certainly support a small professional playhouse. Thus, The Savannah Dramaturgy calls upon the Chatham County Commission to consider a cigarette tax. If it doesn't raise money for the arts, it will at least reduce lung cancer.

So This is Christmas: Cardinal Rep

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.

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.

Wait Until Dark: Little Theatre of Savannah

Wait Until Dark, The Little Theatre of Savannah's latest melodrama, manages to present a mixed bag for the spectator in its November 13-30, 2008 run at the Freight Station Theatre. The script, adapted for the screen in 1967 by Robert Carrington, is a veritable danse macabre of menace, though the cast has difficulty at times finding where the true menace lies.

The story, revolving around a recently blinded young woman, follows a trio of con men in their attempts to retrieve a heroin stuffed doll from the apartment this young woman shares with her photographer husband. The story twists a torturous path where Sam is slowly implicated in smuggling and marital infidelity, until the con is finally discovered and the thugs must resort to sheer force.

The cons Mike (Justin Kent) and Carlino (Phil Keeling) are, much in the way of confidence artists, quite likeable in their own way. Indeed, there is something of Laurel and Hardy or the Three Stooges in their relationship. Their main shortfalling is that they simply do not go far enough. Scenes that could truly relieve audience tension through a bit of laughten tend to fall short, as the schtick is neglected. While it could be raised to almost monumental heights, a la Noises Off, it fails to fully please. Instead, one has two likeable men caught, essentially, in a bad situation.

If Mr. Kent and Mr. Keeling do not paint their characters with broad strokes, the role of Harry Roat Jr. (Giles Gonnsen) stepped straight out of Hannah-Barbara's animation studios. Mr. Gonnsen has, unfortunately, reduced Mr. Roat from a frightening killer to a simple pop-culture meme. If Heath Ledger's Joker from The Dark Knight had stolen Peter Seller's sunglasses from Dr. Strangelove, one would then have an accurate picture of Mr. Gonnsen's performance. While possibly a great deal of fun, wearing monstrosity so clearly on one's sleeve ultimately robs the piece of menace. Had this role been played straighter (think Hannibal Lecter) then greater vistas of frightening depravity could have been opened in the playing of Roat. Instead, as one already knows where the beast lies, Roat is surpassed in creepiness by the lurking, nine-year-old Gloria (Kasey Siebert).

Acting honours for the evening go to Ms. Rachel Herrick in her performance of Susy Hendrix. Ms. Herrick manages a nearly convincing performance as the blind Mrs. Hendrix. Given the difficulty of playing disability, particularly one so keyed as sight, Ms. Herrick's performance manages to succeed in simply not distracting, though it manages much more. Darwin Hull, as Sam Hendrix, puts in a brief but amiable appearance that recalls a sentimentalized Lee Cobb from Death of a Salesman.

The cast, under the direction of Savannah theatrical veteran Christopher Soucy, primarily undershoot the mark, barring some exception. Given certain personnel issues throughout the rehearsal process, the cast has managed to put together an engaging show.

The set (designed by Jeroy Hannah) is an effective and spacious use of the Freight Station's sometimes limited square footage. However, the tone is truly set by the lighting (designed by director Christopher Soucy), oddly enough for a play about darkness. Mr. Soucy's choice of a brilliant, hard edged lamp for his house light helped to set the tone by bathing the waiting audience in harsh, white light.

Though Wait Until Dark is not without its shortcomings, Mr. Knott asks us to simply swallow a Byzantine con game extending to Montreal and tosses in Roat with almost no explanation as to his origins into the story, while the cast at times misses the opportunity to truly terrify, The Little Theatre of Savannah manages to put together an engaging evening of theatre.

Though the drawbacks and limitations of community theatre are a common, recurring theme here in The Savannah Dramaturgy, there is still an expectation of goodwill and excellence. Perhaps the most disturbing moment of the evening comes when this author is apologized to by multiple departing cast members. Such behavior is not only ungracious, but it also indicates to an audience member that their appreciation is unplaced and that absolution is desired. Given Savannah theatre's already limited resources, we cannot afford to lose goodwill, quite simply.