It is a story as old as time itself, a man loses his job and decides to take off all his clothes in order to make ends meet. Well, perhaps it is not that old of a story. It is, however, quite the story, and it is this story that the Armstrong Atlantic University Masquers tell in their production of The Full Monty this weekend under the direction of Benjamin Wolfe.
This show is not without some trouble. As with any musical spectacular, it is inherently heavy on technical aspects, which AASU seems to be attempting to cope with gamely. Further, though engaging and moving in his portrayal of Jerry Lukowski, Phil Parham simply lacks the pipes required for much of the difficult vocal work. While there is much to be said for being able to act through a song, yet there are times that the lack becomes glaring.
However, the cast deserves honours for their accomplishment. Jonas Boyd is delightful as the gauche Malcolm and John Martin carries the role of proto-Parkour enthusiast Ethan Girard to new heights. Indeed, each member of the act carries his insecurities on his sleeve in a way to build empathy with the audience without overtly jerking tears. Georgie Lukowski (Med Meadows) and Vicki Nichols (Brittany Brown) almost make their watchers envious of their deep affection for their husbands. Gail Byrd, as hardened pianist Jeanette Burmeister, inspires laughs and acts as the quintessential raissoneur for the budding Chippendales in waiting.
Mr. Wolfe does indeed have a show, and the cast performs with such goodwill that one is willing to overlook many of the flaws. The Full Monty (and full moon if there isn't a bit better timing on the ligth board) is definately worth a look.
Thursday, February 19, 2009
Thursday, February 5, 2009
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.
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.
Tuesday, January 27, 2009
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.
Sunday, January 25, 2009
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.
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.
Saturday, January 3, 2009
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.
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.
Wednesday, December 24, 2008
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.
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.
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.
Subscribe to:
Posts (Atom)