By Joe Straw
What in the world were those fake trees and rocks on the set? Set pieces one supposes on a makeshift stage to showcase a play that eventually was not presented on this night. Yes, not on this night, but there were rumblings of another performance somewhere in this sphere of influence that got an amazing applause. Unfortunately we were not to see that show but we understand it was a grand event.
Upon inspection of the play, one is reminded of the old bait and switch trick, and the selling of a bill of goods. Yes, it was a grand night for deception and for one to take delight in that deception.
And the play is all done in rhyme, pentameter couplets no less.
Perusing the menu, ahem, the program one notices the actors on stage are not the usual Theatre 40 members; a few cast members are from the University of North Texas and the California Institute of the Arts. Interesting. Majorie Hayes, the director, is a Professor of Acting-Directing at the University of North Texas and alumni of California Institute of the Arts. Hmm. Also, interesting. And so there is a connection as some of the actors are alumni of both schools.
Theatre 40 presents the first production of the 2022-2023 season of The Metromaniacs by David Ives adapted from Le Métronamie by Alexis Piron, directed by Marjorie Hayes and produced by David Hunt Stafford through August 21, 2022.
Francalou (David Hunt Stafford) rhymes with strangle you is a gifted writer. An accolade presented to him by himself as others are not necessarily of the same mind. So Francalou confuses those people by using a female pseudonym to write what he regards as dreck to be published in a writers rag called “Parnasus”.
“Parnasus” may be something the common folk would regard as nothing but linings on the bottom of a birdcage, but the poets regard it as nothing short of a Holy parchment.
And those people are here today, in Francalou’s ballroom, for a writer’s conference with objectives that will rankle the timid and confuse the smoldering minds of confused beings who are now looking for the rave and mania that is communicating using the rhyming of couplets.
One of those poets, a glorious writer himself, Damis (Alec Anderson Carrasco), a poor young poet, seeks to find that writer from “Parnasas” to ask for her hand in marriage. Unfortunately, Dorante (Jeremy), a rich and self-absorbed magnanimous individual, wants that same woman.
Dorante, dressed in magnificent manly attire, is a quivering mass of a gelatinous facade when expressing or writing the poetic words.
Fancalou’s daughter Lucille is a wonderful poet herself, besotted with the written word, and, at this point, suitable for marriage but she will only wed a writer who moves her wet in a way that no one can.
Lucille is also a bit daft, luscious but daft, and Francalou recognizes her characterization in a play he has written and pushes at every given moment to anyone who would listen including Baliveau (Hisato Masuyama) Damis’s uncle.
Lisette (Mandy Fason), Lucille’s maid, does a wonderful impression of Lucille and has decided to take the role in Fancalou’s play as well as Mondor (John Wallace Combs), Damis’s valet, an unpredictable but obsequious servant who relishes the role.
Dorante, up against a poetic cliff, convinces Damis to write poetry for him so that he can present it to Lucille with his intentions to marry unbeknownst to Damis. Damis does this because writing comes easy to him.
Once Lucille reads the poem, she will fall in love with Dorante without question.
Meanwhile Damis is convinced that Lisette is Lucille, or the writer of the poetry in “Parnasas”. He falls in love with her, because he loves the words she writes.
Both men find out they are in love with the same woman (who are not the same) and take up arms in a duel against each other.
Alec Anderson Carrasco (Damis) is a gifted actor. One supposes that he has stolen from the greats and all that works well for him and the character he portrays. It is an emotionally satisfying and outstanding performance that moves from moment to moment until the satisfying end.
John Wallace Combs (Mondor) is a Theatre 40 regular and works well in this play. In fact, his work is outstanding. Mondor seems to take his role seriously and includes all the bad things actors do once they have gotten the job.
Mandy Fason (Lisette) is exceptional in the role. Lisette, the maid, is an actress at heart and would only act if the money thing didn’t get into the way. But, giving the opportunity, she’ll give it her all, all for the sake of her craft. Lisette rides the deception wave to the bitter end and Fason is terrific and outstanding in her performance. Also, Fason has this incredible charm about her that really worked well in this character.
Hisato Masuyama (Baliveau) present an odd character, one without much poetic dialogue, but rather projects his words in nonsensical puffs of howling and screeching. Imagine a juddering howler monkey running about the stage, disrupting, or adding to the action and you’ve got your character. Still, it is terrific work.
Josephine Núñez (Lucille) is also excellent. She has a commanding presence and is also a physically gifted actor. She moves unobtrusively from one moment to the next delighting all around her.
Jeremy Schaye (Dorante) presents strength, brawn without brain, in his quest for the ultimate goal. He will not lose, no not one inch, to find the love of his life. Schaye’s performance is wonderful, playful, and exciting to watch.
David Hunt Stafford (Francalou) got himself into a little trouble in the second act on the night I went. One is not sure what happened but Stafford, like a trouper, managed to work his way out of it. This is a hallmark of a truly professional actor. One is not sure how he does it but he also produced this marvelous production.
David Ives, is gifted and a genius, there’s no question about it. This is a difficult play to adapt and one can imagine the work that went into this marvelous and problematic play. One can go to theatre and take many things away from a viewing. One may not have gotten all of the references, or the changes from one moment to the next but this was a completely satisfying work of art that demands to be seen time and time again.
Marjorie Hayes, the director, gets it and guides the cast to
a marvelous night of theatre. Moments
were not wasted and were also defined in character and relationship. The comedy
played out in glorious colors and costumes. Hayes is an incredible director and
the work is outstanding.The work is enjoyable from top to bottom!
Michele Young, Costume Designer, gives us another night of wonderful costumes and what we are to expect coming to a Theatre 40 production. Judi Lewin’s work as Hair/Wig/Makeup Designer compliments the costuming.
Other members of this outstanding crew are as follows:
Jeff G. Rick – Set Designer
Derrick McDaniel – Lighting Design
Nick Foran – Sound Design
Nathan Danielson – Assistant Director
Michele Bernath – Choreographer
Ryan Rowles – Stage Manager
Isabella Fried Leeman – Assistant Stage Manager/Wig Maintenance
Eric Keitel – Photography
Philip Sokoloff – Publicity
Reservation and information – Jay Bell 310-364-0535
Run! Run! Run!
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