The Piano Lesson: Savannah Cultural Arts

“Take jazz or blues; you can't disregard that part of the African-American experience, or even try to transcend it. They are affirmations and celebrations of the value and worth of the African-American spirit. And young people would do well to understand them as the roots of today's rap, rather than some antique to be tossed away.”

--August Wilson

The staging of a classic, particularly a classic by a genius as finicky as August Wilson (who leaves nothing up to chance and specifies almost everything in his dialogue), can be a major challenge. The City of Savannah's latest offering of Mr. Wilson's The Piano Lesson rises to this challenge effectively, bringing a classic of modern American theatre to local audiences.

Savannah has, thankfully, no real shortage of talent in terms of available actors who are willing to do projects, and Piano Lesson is no exception. Gary Swindell Jr. (Boy Willie) is a great dynamo, infusing his character with a great deal of energy while Stanley Marcellus Simons (Avery) manages to take the audience with him in transports of quiet ecstacy. They are matched by Charlene Williams's (Berniece) taut, almost neurotic, energy, Jesse W. James's (Doker) quiet dignity, and Alfred Pierce's (Lymon) endearing gawkiness.

Coupling this with a capable design schema from Dan Mellitz and Chann Givens, one is in for a remarkable evening of theatre.

However, it is possible to have too much of a good thing, and this evening is no exception. Be warned that the production is quite long, over three hours, to be exact. Also, given that the intermission happens well after the 1:40 mark, audience members should be prepared for something of a marathon. Though every word of Wilson's is precious, this production is badly in need of cuts. Before cries of "sacrilege" are raised, it should be noted that this is common practice with longer canonical works (Shakespeare, Miller, Parks) in order to help render them accessible to a wider audience. The message might be moving and earth-shaking, but if the audience is too distracted by an aching rear... they're not listening.

It is this issue that leads to the production's greatest and most specific limitation. Wilson's work is predicated on and built around jazz and blues music, with a very substantial use of these rhythms in the creation of a uniquely American poetry. This is rushed in a number of ways by this production (most likely in an attempt to save time) and the full richness of Wilson's language cannot be felt. Indeed, it is not until the singing of the song "Berta" that one really is able to experience the transformative power of Wilson's writing at full power.

Also, in terms of the cast notes. As opposed to a 1-2 sentence musing on the meaning of the piece (which should be left to the audience to consider), could we possibly learn something about the actors themselves? Perhaps a short bio, as opposed to some (in some cases) very flat thoughts.

By August Wilson; directed by Vickie Blackshear; lights, sets, and Sound by Dan Mellitz; costumes by Chann Givens; music by Gary Swindell Sr.; A City of Savannah Department of Cultural Affairs Production, presented by Cultural Arts Theatre. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 651-6417. May 14-16, 21-23.

WITH: Jesse W. James (Doker), Gary Swindell Jr. (Boy Willie), Alfred Pierce II, (Lymon), Charlene Williams (Berniece), Riche' Williams (Maretha), Stanley Marcellus Simons (Whining Boy), Nanika W. Ollard (Grace).

Pippin: Savannah Cultural Arts

It would be an accurate historian indeed who could pinpoint the precise date where Broadway began to turn from traditional, Golden Age-style musicals of Porter and Loesser to the shallow fair of rock operas and Andrew Lloyd Webber. However, it would seem that Pippin, the monumental battle between Stephen Schwartz and Bob Fosse that rivals even Stephen Sondheim in a level of convolution and managed to kill Irene Ryan, was concieved on that very day. Indeed, it seems that continual revisions to the piece have only continually weakened it. Though it is a perennial favourite in community theatre, this can only be because nobody would want it.

And, in many ways, Savannah Cultural Arts Theatre's production of the aforementioned piece is severely limited by a script that is so severely flawed. Regarding its recent revival at the Mark Taper Forum, The New York Times cites the need for a very real, very clear duality in the production of this show. Yet that duality, so essential to understanding a script that has placed all its cards on a single horse, seems to be severely missing from this production. As this is a play about putting on a show (theatre about theatre), the audience needs to see a clear depiction of when we are watching "Pippin: His Life and Times" (the show of the players) and that which is corollary to that. The chorus, or players, are utilized in such an inconsistent way that it is difficult to ascertain precisely what one is looking at in the grand scheme of things, despite some truly beautiful moments. As such, a lack of truly clear delineation and overarching vision combines with a deeply flawwed script. There is a level of surreality possible, but the need for solid craftsmanship becomes all the more pressing in this case.

Savannah Cultural Arts is also not helped in the least by the young man playing the title role of Pippin. Mr. Corey Green plays the role of the player's nightly sacrifice, and aspiringly great prince, with a voice mildly resembling a dialtone and seems to be unable to summon the energy to truly want to become great. There is either a real lack of certainty in this young man (out of which we here at The Savannah Dramaturgy pray he will grow) or he simply "phoned in" this performance to a level that should never be forgiven. In some ways, such an attitude is one of the most dangerous things facing a growing theatrical community, as our institutions largely must have the attitude of "Play or starve."

However, the show is a great deal of fun, particularly thanks to a number of bright points in the cast. Ina Williams, who last swept the community in the Savannah Shakespeare Festival's Shakespeare on Love, is delightful as Catherine, a foot-fetishist widow who has an estate to run and fills Pippin's days with meaningful toil and pregnant moments. Ms. Williams manages to go from gawky and awkward player (who forgets her eyelashes before her big entrance) to a beautified lover who provides a rock to save the soul of Pippin himself. Also worth mention is Gail Byrd in her rendition of Berthe, grandmother of Pippin. Gail, who has turned in effective performances in The Full Monty, 'night Mother, and Catch-22, gives the audience a truly warm depiction of a grandmother giving truly sage advice in the song "No Time At All." Ms. Byrd also manages to balance to prospect of acting at acting while also owning the stage like a seasoned starlet when it is time for the audience participation to end for her big solo.

Particular praise is reserved, however, for Faith Boles as the Leading Player. Ms. Boles turns in a performance that combines the best aspects of a snake-oil salesman and strolling minstrel into a tempting, sexy, and masterful player who is clearly capable of luring cull after cull to their willing damnation. By turns domineering over her unruly charges and beckoning Pippin with the prospect of lasting glory, Ms. Boles stands a good chance of becoming a perenneal favourite of the Savannah stages.

In essence, there is an emasculated and crippled script that needs intensive care in order to try and walk. Though there are bright points, other moments simply limp along through obscurity due to either lack of vision or Mr. Green's lack of enthusiasm. A great deal of fun, but a piece that essentially lives up to its reputation as benign and somewhat emasculated.

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.

Once on This Island: Savannah Cultural Arts

Bravo to DJ Queenan and Savannah Cultural Arts for demonstrating precisely what the theatre in Savannah is capable of once it has the resources it needs at its disposal. With the production of Once on This Island, the production team of Savannah Cultural Arts has mustered the significant creative power from various agencies throughout the city and created something truly enjoyable for the city.

The script, by Stephen Flaherty and Lynn Ahren, actually does fairly little to assist a production in the realm of audience identification or empathy. The piece, essentially a retelling of the 1830 Hans Christian Andersen fairytale The Little Mermaid, suffers from the classic character weaknesses of the traditional fairytale. Characters are, by and large, ciphers and silhouettes. Indeed, the main character, Ti Moune (played by Brittny Hargrove), is largely pathetic, surrendering herself to a mad quest for love. However, such victimization (self-inflicted or otherwise) is common among fairy-tale heroines and should not be taken as unusual. It is simply a measure of the script's weakness that such remains the case for Ti Moune. However, the liability is limited due to a solid showing by Ms. Hargrove.

Despite weaknesses of the book, Mr. Queenan has managed to assemble an entertaining and stimulating show. His most recent musical endeavour, The Boyfriend for the Little Theatre of Savannah, fell short largely due to musical limitations. However, the more formidable resources of the city allowed for the hiring and retention of a much stronger musical core. Further, energetic and appropriate choreography has been provided by Muriel Miller and Nancy Holmes of Abeni Cultural Arts (who also made quite an impression with their dance-based Othello during the Savannah Shakespeare Festival). The strength of the dance not only exceeded expectation, but also provided a very visceral connection to the Caribbean beat of this piece.

Further, the city has managed to bring in the varied talents of designer Danica Leigh (who provided the headpieces of the god characters), Adrienne Cronberger (costumes), and the acting talents of Ryan McCurdy, who had an excellent turn as an engaging Papa Ge. Again, the variety of resources which can be drawn upon by the city, including Abeni, Cardinal Rep, and SCAD, are a testament to the strength of Savannah's theatrical community. However, as has been evidenced by other productions, that strength is only made most fully evident when the proper resources can be brought to bear on the project. Much like this years Shakespeare Festival, Once on This Island has primarily succeeded by pulling in an combining the various orbits of Savannah's theatricality.

It should also be noted that this marks Mr. Queenan's final production with the city's Department of Cultural Affairs. He is departing to teach at Savannah Country Day, where The Savannah Dramaturgy hopes we will see more good work from him and steps forward in the training and inspiration of young artists. It is our fervent hope that Mr. Queenan's successor will draw upon the integrational abilities of the city in order to continue to strengthen Savannah's theatrical community.