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| Esther Guigui - Photos by Blain Clausen |
By Joe Straw
Usually there’s a doorman, backstage anywhere USA, but for reasons unknown on this godforsaken night Karen (Barry Brisco) gingerly steps out alone adorned in a patterned red suit with multi-colored red and black boots, into the rain for a much-needed cigarette. Simply the act of smoking, reflecting on a significant moment, and opening the dark edges of his now rain-soaked existence all for some type of nicotine clarity. Something is amiss.
Backstage doors are not glamorous, usually made of steel, and made specifically strong enough to keep the hanger-on’s - out. That doesn’t deter Eve (Esther Guigui) who approaches Karen under an umbrella trying her best to avoid the raindrops on this cold night.
Eve uses every trick in the book to get inside to see Margo (Dahlia Waingort Guigui) and Karen does little to encourage this young woman, who, all told, has seen this production from the balcony over 50 times. He makes a mental note of that number, and Karen says he’ll see what he can do but suggests that if he doesn’t come back, she should go home.
Meanwhile, backstage Margo is surrounded by the ones that love her. First and foremost is her husband Clement (John Mese) a stoic personality with a predilection for truth, noting Margo’s offstage age of forty-five in their casual after performance chat. Margo’s writer Lloyd (Eric Keitel) the playwright, and Karen’s husband, that has written three winning plays for Margo and chimes into her defense saying that she can play anything on stage younger than her actual age. Meanwhile, although married, his lascivious eyes are always open. In cat-like tongues they all speak scandalous and reckless gossip about the supporting players that almost ruin Margo’s performances, and they do this with unforgiving jagged claws.
Sunset Pictures presents The Wisdom of Eve by Mary Orr, directed by Bryan Rasmussen and produced by Dahlia Waingort Guigui at the Whitefire Theatre through November 24th.
There is a reality to May Orr’s play in the way the players behave backstage, and everyone is moving in a direction hoping the choice they have made will move them to their hopeful destination. Eve Harrington tops the list characters that will stop at nothing to get what she wants, no matter who she hurts, or how big the lie. It is a very sinister look at the art of showbusiness that is both enthralling and mesmerizing and it is hard to turn away from each bit of rich, enthusiastic, dialogue that is, in effect, a movement into an abyss.
Bryan Rasmussen’s love for the theatre, and this show, stopped the show midstream to take care of a patron’s cellphone issue with some handy investigative Columbo like resolve, eventually finding it stuffed in a purse, music blaring, (Je t’accuse, et toi seul, de mettre de la musique dans ton sac à main!) pulling it out and needing assistance with an android phone to turn it completely off! That aside, there was much to enjoy with Bryan’s work throughout the night that really struck a chord and one that is highly satisfying and recommended.
But, if you are planning on seeing this production, don’t read any further.
Don’t.
You’re still reading.
While the production is fantastic, one couldn’t help but think that there is more layers to be had, and more to give. That may be accomplished with only a little more rehearsal time to define characters, their motives, and their choices which will move them in such a way to give the production a greater flow.
At first Margo is the center of attention and the flow should be directed toward Margo. Margo, Margo, Margo! She is the queen bee and everyone on stage should treat her as such. Then Eve comes into the picture. Now there is a slight disruption, imperceptible at first, (except the beauty part) the queen is slowly losing her power, people she thought were completely enamored with her are now, one by one, turning away except for one person who is not deceived by this young ravishing beauty.
Secondly, as Eve moves in, we should find how the other characters move into her camp. Love is regarded as wave, a valid distinction of emotional or physical wants that moves a character from one person to the other. Those moments can be clearly defined with only a minor adjustment. The dialogue tells us movement is made in that direction, but the physical and emotional actions are not entirely realized. Lloyd doesn’t show us that he is completely in love with Eve and Karen doesn’t recognize that he’s slowly losing his husband. And, oddly enough, no one looks at Eve as though she was heavenly sent.
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| L - R Barry Brisco, Esther Guigui, Dahlia Waingort Guigui, John Mese, and Eric Keitel |
Dahlia Waingort Guigui (Margo) gives a remarkable performance, a theatrical diva who manages to avoid the conflicts of those around her, possible thinking about herself and her work. (As most divas do.) There is a moment, near the end of the play, where Margo seems to accept the things, she cannot control and holds onto her diva status as well. It is a marvelous moment filled with a richly deserved justice and a sublime ending to the play.
Esther Guigui (Eve) would be the antagonist in this play. This is a sinister portrayal of a woman with a sagacious smile, who will stop at nothing to get what she wants starting in small increments while moving Margo’s production people like one would move fallen chess pieces. Her bite is vicious and her bark equally offsetting. Understudying is her next dream and when she builds upon that dream Margo’s dominos start falling. Esther moves in a way that is beneficial to her character. It is stoic at times. Perhaps there is room for this character to take notice to see if her words are having the desired effect and relishing in them. Esther Guigui is remarkable in the role.
Barry Brisco is Karen, and this casting is an unusual choice but worked on various levels. Karen tells the story reflecting on the past two years ago. There may be more to add, reflecting on a painful memory of her life and how he was responsible for the rise of a new starlet and the demise of his marriage. Does he want his husband, or does he want to get rid of him? His relationship must rise, and fall given the disruptions. Brisco also must find ways to strengthen his relationship to his very best friend Margo and create a physical relationship with his husband. Still, very good work.
Eric Keitel plays Lloyd the playwright and husband to Karen. Lloyd may be the first person who is truly infatuated with Eve, which we don’t get a sense of it in this production. There is a moment when he immediately drops his husband and suggest driving her home. More development in the character is in order. Keitel also appears too young for this role. He looks the part of the writer, glasses, and purple jacket but we never get a sense of the miles behind him. We know where he ends up in the play, but we don’t see him moving in that direction or even questioning as to what he must lose taking another lover.
John Mese is excellent as Clement. He is a rock in his grey suit, always speaking the truth, and always cautious of one actor. Not bowing to the moral incongruities of that industry, he is strictly business and with him it’s all about the money and trust. He is so very cautious about all relationships he must deal with in this obstreperous environment. It’s a wonderful role and Mese is excellent in that role.
Michael Mullen plays a couple of roles Leila, a costume person who seems to have ADHD, not knowing where to turn so he turns in circles and grunts to accomplish his goals, unfortunately everyone suffers without paying too much attention to his antics. He is suddenly relegated to the kitchen, the first casualty when Eve enters the picture. Tally Ho is another character and that character fairs better. His best work is the Costume Designer, and that work successfully places the actors in the time and place. His work is excellent.
Brady Gentry is Harvey the stage manager and is very engaging on stage. There may be more to add to his relationship to Eve. Although Harvey is married, he might want to think about throwing it all away to fall in love with this woman, make her appear greater, help her with her performance, all for the sake of his undying love. He’s not just a stage manager but a footstool to give his love movement up the ladder to success. If she wins, he wins.
Mitch Rosander is Bert Hinkle an agent that now wants to represent after seeing her performance. His performance is fine but may need something a little more creative to get what he wants. Again, it’s about love or in his case lust.
Corrynn Englerth is Vera the next girl in waiting, statuesque, demur and elegant.
Cayla Black is Vera but did not perform the night I attended. Mitch Hara also did not perform the night I attended.
Other members of the crew are as follows:
Jeff G. Rack – Set Design
Derrick McDaniel – Lighting Design
Aviva Berger – Executive Producer
Mitch Rosander – Sound/Projection Design
Pete Handelman: Pedrospages.com – Graphic Design
Bree Pavey: Projection Graphics
There’s plenty of street parking.
The limited run is October 12th through November 24th. Performances are Saturday evenings at 8:00pm. An additional performance has been added, Sunday, November 24th at 7:00pm. For tickets and information visit: whitefiretheatre.com or call 818-687-8559. The Whitefire Theatre is located at13500 Ventura Blvd. in Sherman Oaks 91423.
