Devil’s Advocate by Donald Freed

By Joe Straw

He, who knows all, knows best.  – Joe Straw

These days, they just come for you, they don’t ask permission.  Why should they?  To them it seems you’ve crossed the line. Even though they’ve supported you in the past. It’s over. Their weapons are state of the art, paid for by borrowed money, and legislated by foolish men. You’re a devil, a demon, and it’s time for your 1:00 a.m. Exorcism.

“I will never betray your asylum.” – The Archbishop

The General (Robert Beltran) is in fact, Manuel Noriega.  His savior, The Archbishop, Jose Sebastian Laboa Gallego (Tom Fitzpatrick) is also his partner in crime in the intriguing Devil’s Advocate written by Donald Freed, directed by Jose Luis Valenzuela, and presented by the Latino Theatre Company and the California International Theatre Festival on Spring Street in Los Angeles.

In the play the head of Jesus, in a forgiving red light, looks down on a simple man.  The Archbishop kneels before Jesus, prays silently, pleading for the knowledge and the strength because the general will come this way on this particular night.  He has to come.  He’s got nowhere to go.

And so he kneels, underneath the crucifixion, the Archbishop says a prayer, in Latin, in his street clothes while listening to the helicopters flying overhead, blaring slogans, while others shoot civilians throughout the Panamanian city.  

“Noriega is worst than Hitler and Stalin.” – A pre-recorded speech blaring from a loud speaker from a US helicopter. 

(Also, if it’s gunfire outside your sanctuary, it must be the US government.) 

Lurking beyond the window is a lone figure with what appears to be a weapon.  It is the general and he has a machinegun in hand. Avoiding the helicopters and military, he comes to the Archbishop for protection and sanctuary.  But, he doesn’t come in as a general; he sneaks inside the Archbishop’s room in civilian clothing. 

Is it a slight knock or a scratch at the door?

Noriega’s clothes are wet, either from the tropical rain or drenched with sweat, running for his life. In any case, The Archbishop waves him in, offers him a meager dinner, and one stinking beer. 

The General is in no mood to give himself freely to the Americans and will fight to his death to keep the country he has come to enjoy, love and dictate.  But if he’s going down, he’s taking that Basque "patriot" with him.  Although it is unclear what information Noriega has on The Archbishop.

“We are going to die, you and me.” – The General

Noriega excuses himself to use the Archbishop’s bathroom. The Archbishop puts on his robe while The General removes his clothes and puts on a bathrobe. (All nice and cozy and equals of sorts.)

Later, after another trip to the bathroom, Noreiga satisfies his thirst with his own bodily fluids.  (And if that isn’t bad enough, he drinks it from a dirty glass!) 

As the Archbishop raises his lantern and signals someone on the outside, it is a fact that Noriega’s capture has already been planned as one will see during the course of the play. The Archbishop’s objective is to have the General surrender peacefully but first (backed by an unknown force) he must convince Noriega to give up serenely.  (So much for “ I will never betray your asylum.”) 

So just who is the Devil in The Devil’s Advocate?  Is it the Archbishop, The General, or the United States?

“They bombed the barrio, 10,000 homes are destroyed.” – Noriega

Simply put, the play is about a man trying to hold on to power.  Frighten by the thoughts of losing everything he seeks sanctuary to find a solution.  So he finds a quiet place, the only place he has left to think while he negotiates his way out of the inevitable incarceration. 

There is not a defining moment in this play where the Archbishop convinces Noriega to give up “his throne” and surrender to the Americans, or a defining moment when Noriega decides to surrender. One looks for the defining moment when the relationship significantly changes.  It is a moment that makes a lasting impression.  If there is a moment, it is subtle, possibly too subtle.

Beltran, as Noriega does an outstanding job.  He is a consummate professional and able to climb into many roles easily as witnessed in various productions at Latino Theatre Company.  Beltran is possibly too good looking to play the pock marked Noriega.  But as a general, missing was the way a general carries himself even when burdened by huge obstacles.  His march and his command of the space even when he has lost that space might be a consideration as an element to an already fine performance.  Also, did Beltran fight hard for his release?  Were his choices imaginative and precise?  Maybe yes, and maybe no.

Fitzpatrick, The Archbishop, was equally good especially with only 10 days of rehearsals.  One might say it was a fantastic job.  But missing was the depth of the character, the moments that make the whole performance, the victories and defeats.  Registration.  Moments that change the relationship.    If his objective is to have Noriega surrender, the conflict should include danger, surprise, and loss.  One never got the feeling The Archbishop lost any ground.  And there should be ground lost if the conflict in his life is elevated and seemingly insurmountable.

Jose Luis Valenzuela does a remarkable job keeping the action going.  There are obstacles with having 10 days with the actor, but Valenzuela pulls it all together to give us a very intriguing view of a very interesting situation.  Possibly more rehearsal time would give more details about the goods Noriega has about his “Basque” friend and the information which will be used in a manner to discredit him. 

Donald Freed’s play was enjoyable from start to finish.  His dialogue into Noriega’s personal hygiene and proclivities must have a basis in truth.  How he got access to those files will probably remain a best-kept secret. There is so much truth on stage one feel uncomfortable as to who may be watching you watching this play.   But, as for the play, what are we to make of this?  Freed’s play tells us our government is nefarious.  Nothing-new here.  We’ve read all this in the paper and in various reports. We know Noriega worked for the CIA.  We also know whatever truth there may be is in a file marked “classified” not to be released or examined until all that should be held accountable are dead.  So what is its purpose?  That no one is totally innocent or totally guilty?  Stop supporting dictators with our tax dollars? Do well and be rewarded ten fold?  One is not really sure. 

Francois-Pierre Couture did a marvelous job as the Scenic Designer.  The set was absolutely fantastic! Tesshi Nakagawa did a wonderful job with costume and props.   

It’s too easy to look at this significant piece of work and laugh at what our government is up to.   How we give “just names” to what amounts to sending in troops and taking over a country.  Look at President George H.W. Bush speech on Operation Just Cause on YouTube and judge for yourself. According to President George H.W. Bush, Noriega is out of control and therefore Bush proclaims December 20, 1989 as “Operation Just Cause”.  (That’s the way you do it! If you’re going to invade a country, give it a short and worthy name, not “Operation Get that Pock Marked Latin Bastard Out of Panama Cause.”)

A Raisin In The Sun by Lorraine Hansberry

By Joe Straw

Knowing divorce on a first name basis I often wonder:  Given all the emotional difficulties of marriage, what is the strength that holds a family together?

Recently, on a visit, I asked my 11-year-old daughter: “Why do you think they called it A Raisin In The Sun”?

“Because if you put a grape in the sun it turns into a raisin.  If you put a raisin in the sun it doesn’t do anything.”

“Interesting.” 

Ebony Repertory Theatre presents A Raisin In the Sun, a timeless classic by Lorraine Hansberry and directed by Phylicia Rashad at the beautiful Nate Holden Performing Art Center through April 17, 2011.

A Raisin in The Sun is a beautiful production with a wonderful cast in an amaranthine setting.  Wonderfully directed by Phylicia Rashad who incidentally is making her Los Angeles directorial debut.  Rashad has done a masterful job of putting all of this together. 

The play is about the Younger family, surviving in a crowded tenement building.  A family that is on the edge of collapse but tries to overcome mountainous obstacles in order to remain intact. 

The action of the play is set in Chicago’s Southside sometime in the late 1950’s. Ruth Younger (Deidre Henry) goes about waking the family and getting them started for the day. She wakes her husband, a chauffer, Walter Lee Younger (Kevin Carroll) and her young son, Travis (Brandon David Brown) who sleeps in the living room on the couch.  Ruth hustles them into the bathroom they share with the neighbors.

Although they are desperately poor, they are very proud, loving family, and family full of ideas.  Each one in their way has inspirational dreams of getting ahead. (They should all be actors!)  But, in the back of everyone’s thoughts is a $10,000 check that is coming in the mail on Saturday.   An insurance check is the source of newfound hope caused from the passing of the patriarch, dying a few months prior.

Walter is eager to get his hands on the money, for the family.  He dreams of the day when owning a business will help him provide for his family.  If there were not these obstacles in his own home.    

Man says to his woman:  I got me a dream.  His woman say:  Eat your eggs.  Man say:  I got to take hold of this here world, baby! And a woman will say:  Eat your eggs and go to work.  - Walter

Walter enlists Ruth to take his side and to have her talk to his mother.  But if one dream is created, the other must be slightly delayed or even destroyed, and Walter goes about delaying his sister, Beneatha’s (Kenya Alexander) dream of becoming a doctor.

If you so crazy ‘bout messing ‘round with sick people – then go be a nurse like other women – or just get married and be quiet… - Walter

Beneatha wants suitors but not at the risk of spoiling her dreams of becoming a physician.  Her two suitors are George Murchison (Jason Dirden) and Joseph Asagai (Amad Jackson).  George is rich but Beneatha regards him as being “shallow” and wants little to do with him.  On the other end of her romantic endeavors, she is infatuated with Joseph and his African culture.  But, she's conflicted about his African ideas of a woman’s role in life and in the home.  

Meanwhile Ruth suddenly finds herself two months pregnant and she has made a down payment to have that pregnancy eliminated.  Nobody believes she would do that, not Walter, not Mama, and probably not herself.

Later, and after the check has arrived, Mama, can't bear to look at it but has Travis read her the numbers.  The pain being so great she asks Ruth to put it away.  Something happens in the home which makes Mama sneak off and purchase a house in the Clybourne Park neighborhood.

Ruth:  Clybourne Park?  Mama, there ain’t no colored people living in Clybourne Park.

Mama:  Well, I guess there’s going to be some now.

Having destroyed Walter’s dream of owning a business, Mama reconsiders and gives Walter the money left over from the down payment of the house, sixty-five hundred dollars.  Walter is instructed to put three thousand dollars into a savings account for Beneatha’s education fund.  And the rest, $3,500, into a checking accounting with his name on it to do whatever he wants. 

Mama has made a big mistake.

And not to add to their troubles, they have an ominous visitor in Mr. Lindner (Scott Mosenson) from the Clybourne Park Improvement Association.  Mr. Lindner's job is to keep the neighborhood white. 

It is a matter of the people of Clybourne Park believing, rightly or wrongly, as I say, that for the happiness of all concerned that our Negro families are happier when they live in their own communities.   - Lindner

Henry as Ruth Younger has a very nice appeal.  Conflicted about bringing another child into the world, her best intention is to hold on to her love from prior days, But moving is just the hope she needs.  Having a home where her kids can play in the yard is just the inspiration she needs to lift herself from the depression she is in.   It is a wonderful moment in the play.

Brown as Travis Younger was cute as the 11-year-old son making his professional stage debut.  He fills the role rather nicely as he begrudgingly walks into the other room to get his whuppin’.

Carroll as Walter Younger had his moments. Certainly it’s not easy to fill the role that Sidney Poitier created on Broadway but, still gave his own unique spin to the character and certainly gave it his all.  One is not entirely sure standing on the table (where his loving son eats) helps his character but Sidney did it so why not he?  To be fair he had a lot of wonderful moments and the emotional horror of losing all of the money was magnificent.    

Alexander as Beneatha was very charming as the doctor in training. The “mutilated” hair gives way to the African Afro later that simplifies her emerging into her unique self.  It is a very nice touch. The dance in the African dress was also very nice.  With all the talk about becoming a doctor, not one step was made in that direction.  (One finds this odd. Was it the writing or the direction?)  Be that as it may, Alexander has a high level of concentration.  Her eyes are very expressive and her thoughts are felt throughout.  She moves about the stage in a manner of a true professional.

There is always something left to love.  And if you ain’t learned that, you ain’t learned nothing. - Mama

Caldwell, as Lena Younger held her own on stage.  There is a quiet intensity in her character as the matriarch.  She keeps the family together always coming back to love and to devotion for the family.  Her force is the water of life, giving moisture to those who will gratefully or ungratefully receive it.  This was an amazing performance and one not to be missed. 

Jackson as Joseph Asagai the African suitor was very motivating and inspirational.   His character shed light on the troubles of the family and put them in a true perspective.  This was a marvelous performance.  So inspirational was Jackson as he left the stage it was if the audience members would walk right out with him.

Let’s face it, baby, your heritage is nothing but a bunch of raggedy-assed spirituals and some grass huts! – George

Dirden as George Murchison has really got one thing on his mind, and it’s sex. (No surprise here.) He doesn’t have Beneatha’s best interest at heart.  And he has no intention of helping her family out, financially or otherwise.  But he also wants a woman who’s smart and not very ambitious.  One suspects, a couple of times to the movies and this relationship is over.  But, if he really wants this relationship to work, he needs to try a lot harder not only as the character but also as the actor. 

Mosenson as Mr. Lindner was ominous as the man who tries to convince the family not to move to Clybourne Park. Tall and imposing and was a physical force that wouldn’t take no for an answer no matter the cost.  Certainly not the nebbish character you’ve come to know but a marvelous characterization nevertheless.

Ellis Williams as Bobo was nice as the business partner who lost all of his life savings as well.  It’s too bad he had to be the messenger to this disastrous news.

Quincy O’Neal, and Bechir Sylvain were the moving men so you’ll know that this story has a happy ending.

Phylicia Rashad directs a marvelous cast in a wonderful production.   Not everything went according to plan on this night but that’s the joy of live theatre.  Missing were the extreme emotional bites that briefly destroys our faith in a character. One example the scene where Walter falls to the floor in emotion anguish needed that extra push from Mama to give that moment the absolute depth of despair.  It is this moment when Mama thinks she has figured out her son but still tests her son to do the right thing in the following scene. Nevertheless, Rashad gives the play her unique touch to this wonderful family drama that is full of life, hope and cherished moments.

There is this underlying force in Hansberry’s play.  Wanting a better life is something most people want, better schools, better jobs, a nice home. The through line of this carefully crafted play propels all of the characters to achieve their own dream. Rashad takes this force and gently guides them on their journey. This force that tears this family apart, equally binds them in the end. Seeing this production, one want to embrace this energy and hold it next to ones heart.

The marvelous Set Design by Michael Ganio shows a tenement building in the Southside of Chicago.  It is bleak and represents people living on top of each other. The wonderful costumes were by Ruth E. Carter.

The 8:00 pm curtain time on opening night became an 8:30 pm curtain. And who could blame them?  The night was like the Academy Awards out there with celebrities meeting and greeting.  Photographer were catching bright smiles and glistening eyes.   What a schmooze fest!  Intermission was the same with no one wanting to sit down until finally an actor came on stage and starting doing her thing, house lights came down and folks started falling into the their seats.

What a happening!  One hopes, when the common folks arrive to see this wonderful production, things have settled down a bit and curtain time starts promptly. 

The Mercy Seat by Neil Labute.

by Joe Straw

Ben (Johnny Clark) just sat there.  Stunned by the events of 9/11, he sat not listening to his phone, which was ringing continuously.  The blood in his face was bright red as though he had just escaped the towers moments before the first tower disintegrated.  And now he sits and thinks about his next move.  

In the background, near the kitchen, a small television replays the events from the prior day, but goes unnoticed.

And Ben just sits and listens to his cell phone, takes it out, recognizes the callers, and with little emotional stake he moves on.

A small trip to the grocery store and “his partner” Abby (Michelle Clunie) enters.  

This cannot be the beginning of the play. One must have arrived in the middle. 

Take back.

Take two. One walks in and observes a man sitting on a couch, playing with his phone not answering it.  It rings, quite a bit, to the point of annoyance.  He gathers the information on the screen and slips it back into his pocket.  In the background is a television set playing what are the events of 9/11. And then a lovely woman enters.  She’s a little disturbed, troubled, pissed, and/or agitated, for reasons not entirely clear.

One can only guess why Ben sits on a specific part of the sofa and begs for forgiveness without coming right out and saying it.  He is planning a deed for which there is no forgiveness, no forgiveness from his wife, his kids, his mistress and/or anyone else that is part of his tragic life.  Is this the mercy seat? 

The Mercy Seat written by Neil Labute and directed by Ron Klier playing at the beautiful Ford Theatre in Hollywood and presented by the VS. Theatre Company is wonderful theatre that will have you speaking to each other about love, hate and character motivations for months to come. (Providing you see it.)

Audience members immediately came out after the performance and were at an emotional loss but started a discussion in earnest. “Oh, he’s such a despicable character”.  But is he really?  Well, Cinderella he’s not but put yourself in his ill-fitting shoes.  What makes him so despicable? What is his motivation? Could we understand his perspective? Could there be a rationalization?

What can be the justification for someone to plan to commit a crime and then bring everyone down with him?   Is he so angry from current events of the world that he would commit an act so heinous as to destroy himself and those around him?  He seems like nice guy; after all he’s wearing a tie.

But, one compares him to a man who throws himself off a cliff and then screams for someone to save him.  Gratefully taking each saving hand on his way up and then purposefully pulling his savior over the cliff.   And that’s what she is, his savior.  For without her, he has nothing.

So he sits there hardly moving a muscle, in his middle class motif.

Abby enters and is visibly upset.  She brings in the groceries and violently fixes her a plate of cracker and cheese.  Slicing the cheese with such aggravation one would think she had a personal vendetta against Gruyere.  Or maybe it was the fact that it’s early morning and she’s running out to get him cheese.

“You make me feel small.” - Ben

But why is she angry?  She’s got a wonderful apartment, beautiful art on the walls, nice furnishings, a stainless steel kitchen, bay windows and a real Persian rug.  It’s her partner that she’s mad at.  And why not?  There are thousands of heroes out there helping and he just sits there as though nothing has happened.

Audie Murphy he is not.

“He (Audie) was a hero!  You don’t even recognize the word.” – Abby

How could anyone be angry?

“Duly noted.” - Abby

“Don’t”  - Ben

But, with Abby it cuts her to her core.  Still there’s a back-story we are not privy to until those moments accumulate on stage. And as this information is released the thoughts become clearer, the reason are magnified, and the despicable acts become one of a gross motivation without a clear explanation for a reason.

One is being very vague here as to not give too much away but still,

We find out:

He’s not a hero. 

He’s married.

He’s was not where he was supposed to be the morning of 9/11.

He’s untrustworthy.

His love only scratches her surface. 

He is vengeful.

There is his plan.  We’ve all got to have a plan.

(“You come in here.  You got no plan!”  -  Sylvia - Dog Day Afternoon)

“You’re the f**king guy in this relationship.” – Ben

And their relationship takes priority to the things that are happening in the city on September 12, 2001. It’s almost as though the events are a secondary thought.  Death and destruction all around them and all they can think about is the problems in their relationship?

“In your infinite wisdom, you failed to promote Me.” - Ben

Clunie as Abby gives a remarkable performance.  She was stunning and purposeful in her objective.  She wants one thing but she has a difficult time convincing him to do it.  With every sharp thought process on stage one can believe she is as expert at maneuvering her way up the corporate ladder. As bad as things got she holds the card that wins her the day.  Just an amazing performance!

Clark as Ben has a hard task in front of him.  He is the quintessential anti-hero.  It is extremely difficult to find a modicum of likeability.  Is it possible to be extremely bad or really nice with a bad objective?  Either way, his moments were often subtle and at times spectacular.  Could it be that he is testing her love to the extreme? The shovel that digs deeper is the one that makes little noise. And still the mercy seat keeps him in that pit until he can step on her back and climb out.  

The two characters in The Mercy Seat are like the wind and the bamboo struggling for superiority pushing, rolling, and bending while making violent sounds from their interaction.  And yet at the end of the storm, without a clear resolve, the wind moves on and the bamboo slowly recovers.  

Neil Labute has written a play, The Mercy Seat, which doesn't have a beginning.  It has a middle and an end and he wants you to figure out the beginning through choice pieces of information presented in the form of dialogue.  Put the puzzle together and see how everything fits. Sometimes the fit brings one to unpleasant revelations.   And if it’s a nauseating fit so be it, it makes for great theatre. 

Ron Klier, the director, has done a remarkable job of putting the pieces together.  The loving combatants on stage throw weapons that sting, and it is a never-ending battle with glorious victories on each side.   The play has a remarkable finish and one you will appreciate for years to come.  At the end of the day, it’s all about love. 

Danny Cistone, the Set Designer, created a spectacular set of an upscale loft in lower Manhattan and Mercedes Manning, the Art Director, provided the beautiful art along the walls of the upscale loft.

Andrew Carlberg, Johnny Clark, and Kimberly-Rose Wolter wonderfully produced this production.

Run to see this production!

Through April 24, 2011

www.fordtheatres.org

The Frybread Queen by Carolyn Dunn

By Joe Straw

 

There are some wonderful moments in The Frybread Queen written by Carolyn Dunn, directed by Robert Caisely, and presented by Native Voices at the Autry.   Those moments occur when each actress comes before the audience (in character) and speaks about making frybread in their own fashion using their own recipe. More on that later.

The play is about a Native American family, two sisters (in-laws) from Los Angeles Carlisle Emmanuel Burns (Shyla Marlin) and Annalee Walker Hayne (Kimberly Norris Guerrero) who come to the Navajo reservation near the Arizona/Utah border to bring back Annalee’s seventeen year old daughter Lily Savannah Santiago Burns (Elizabeth Frances) to live with them.   One might characterized this play as an “Indian angst”.  

The in-laws want to take Lily back to Los Angeles so that her mother, Annalee (who is dying of cancer),  can spend her remaining days with her daughter.  They are also both there to attend a funeral.

Presently, Lily is living with her grandmother Jesse Burns (Jane Lind).  Days prior to the in-laws arriving, Lily’s dad committed suicide.  Jesse wants Lily to stay with her. 

But there’s a problem and that happens when the dearly departed comes back and makes life a living hell for those relatives remaining on earth.  It’s actually a small part of the story that strains credulity.

Lind was very agreeable as Jessie.  Her description of making frybread, the old traditional way, was a very nice moment of historical perspective and she uses this method as a way she goes about her life.

Marlin did a nice job as Carlisle.  She made frybread the faster and quicker way.  No freaking’ muss or fuss and it was good too.   She’s got all the awards to prove it.  The way she made frybread was against tradition.  Bring in the new and throw out the old and slow.  Fast rising is better than no rising at all.

Frances as Lily was in a character mode that was so extreme it sometimes worked or didn’t work.  The heavy gothic makeup, smoking and the youth attitude of “my life is a living hell and it’s all because of you!” wore a little thin. And she didn’t seem emotional wrought from her father dying days prior. But when she described her version of making frybread, she suddenly came alive, and was a multi-dimensional character.   It made a lot of sense and was poignant.

Guerrero as Annalee was sympathic because of her illness.  Her use of the oxygen mask is a testament to her struggles.  She was amusing as she told the stories of making frybread, so specific, technical, and surrounded by the people who would make a difference in her life.  She’s throws the “sickness” part of her character away when describing the story and it was just wonderful.  The moment she went back to the other character was less than inspirational.  Still there were some wonderful moments.  

Carolyn Dunn, the playwright, wrote some wonderful things about the characters making frybread and their ways they went about it.   The problem of this production was the believe ability factor. To have the ghost of Paul come back and inhabit the bodies of both women he slept with stretches the story to the extreme and the truth meter goes way down on this one.  Stick to the truth of making frybread and real life associated with it.  Let the audience feel the life inside those moments when frybread is being made and let us explore the conflict during those moments.   Also, if a character makes frybread a certain way then her objective should create actions on stage the way she makes frybread. This will bring about touching moments that will be specific to each character. The conflict will rise like the dough in the bread.

Frybread should have been more central to the story the focal point where all things happen, where all is discussed, where all the characters make the frybread and the where conflict comes to them. 

Robert Caisley, the director, had problems from the opening moment.   And looking back on this in hindsight they were big problems.   One problem was the gun.   Jessie finds the gun under the sink.  The response to finding the gun is to move it to another location, the freezer.  Seemingly without rhyme or reason.  And then Carlisle enters, as pretty as you please, without giving us any indication that someone has committed suicide on the living room floor just days before with that very same gun.  Also, actors were left floundering, center stage without an action to get them through the scene.   For instance the mother describing taking the gun and… (One is giving too much away.)  One really didn’t get the directors focus on this production. There are wonderful things in this play, which has strong possibilities but this version lacks the convincing through line this production needs.

There were some nice special effects on stage but those effects did not set any kind of mood for the action that follows.

Dawn Stern and Erika Stone were understudies for Annalee/Jessie and Carlisle/Lily respectively.

Native Voices at The Autry is a beautiful theatre.  Headed by Randy Reinholtz, the founder and Producing Artistic Director and is doing a beautiful thing in representing Native works.   

Broken Glass by Arthur Miller

By Joe Straw 

Glass is not, by any stretch of the imagination, strong material.  It comes in all shapes and sizes.  It can be translucent or gives one the protection to observe freely and in a safe environment from a safe distance.  When glass breaks it becomes this event, so unexpected, one is astounded by the cracking and even shattering experience. 

Broken Glass by Arthur Miller is playing at the Pico Playhouse, presented by The West Coast Jewish Theatre, and directed by Elina de Santos.  This is a fascinating play about characters and their motives: but does it provide the audience a shattering experience?

Set in November 1938, as the play goes, Phillip Gellburg (Michael Bofshever) is sitting in his doctor’s office and speaking to the nurse Margaret Hyman (Peggy Dunne) about a problem he is having.  Gellburg, claiming to be Finnish (discounting his Jewish heritage), is as curt as any man can be but he says that it’s his wife who is having the problem. 

Gellburg: She can’t walk.

It seems that for the past nine days, she has lost the feelings in her legs. It’s not polio just a problem for which Gellburg needs reassurance from the doctor that everything will be okay.  It is for this reason he has decided to stop in.  He believes he is a man who leaves no stone unturned.

There must be a reason that Dr. Harry Hyman (Stephen Burleigh) enters his office wearing his horse riding breeches.  One thinks right off the bat that this is highly unprofessional and not suitable attire for having serious discussion with a patient’s husband.

Gellburg, impatiently, asks for a diagnosis. Dr. Hyman asks Gellburg to wait until he reviews the file. Both Dr. Hyman and Gellburg are opinionated and very disagreeable men.  Gellburg is open to the ways that Dr. Hyman may have in treating her but doesn’t see beyond the glass of Hyman’s insincerity. 

Gellburg is a nasty man possibly because he hasn’t had “relations” with his wife in a very long time and he may have a problem performing at all.  He wears his lack of sex on his sleeves.  He is truly in love with his wife but cannot get beyond the person behind the tinted glass that is his wife.  His character is also dishonest and a most disagreeable person as one could imagine. 

Hyman, on the other hand, is a slightly offbeat character.  He even compares his wife to Gellburg’s wife.

Hyman: … Your wife has a lot of courage; I admire that kind of woman.  My wife is similar.  I like that type. 

Gellburg:  What type to you mean? 

Hyman:  You know – vigorous.

Dr. Hyman has had a relationship with Sylvia’s father so he’s a family acquaintance and clearly has his eyes set on another female conquest, in the name of science, of course. Hymn inquires about their sexual relationship and seems to be titillated so much so that when he leaves and his wife walks in…

Hyman:  Should I tell you what I’d like to do with you?

Margaret:  Tell me, yes, tell me.  And make it wonderful.

Hyman:  We find an island and we strip and go riding on this white horse…

Margaret:  Together.

Hyman:  You in front. 

Margaret:  Naturally.

Hyman:  And then we go swimming…

Margaret:  Harry, that’s lovely.

Hyman:  And I hire this shark to swim very close and we just manage to get out of the water, and we’re so grateful to be alive we fall down on the beach together and…

Margaret:  Sometimes you’re so good.

Meanwhile Sylvia Gellburg (Susan Angelo) and her sister Harriet (Renae Geerlings) are having a discussion about her “paralyzed” legs, her son who is an artillery captain in the army, and Kristallnach (also known as the Night of Broken Glass November 9 – 10^th 1938) which she has been reading about in the newspapers.  All these pieces of information are the broken shards of glass in her life and are weighing heavily on her legs.  And whether the problem is physical or mental are questions yet to be explored.

On top of everything else Phillip Gellburg is having problems at work and he’s not doing due diligence on a building that his boss Stanton Case (Lindsey Ginter) wants to pursue.   The trouble gets him into deeper waters and in a position for which he may not recover.

Margaret: - What is it – just new ass all the time?

Hyman:  There’s been nobody for at least ten or twelve years… more!

Margaret Hyman, the doctor’s wife is, for the most part a pleasant person and tries to spread good cheer, but underneath her exterior she is mistrustful of her husband’s pandering and philandering ways.     There are cracks in their relationship. And why shouldn’t she be erring on the side of caution?

Dr. Harry Hyman is as sinister as they come or normal depending on ones perspective.   His fantasy of riding in on a white horse and saving people from their sexual predicaments as if he were a psychiatrist is disingenuous.  But, it’s something he’s willing to give a try.  Although he is not as sinister on the surface, he is on the edge of taking advantage of all he meets under the guise of his scientific work.  Maybe it’s his sexual appetite.  One is not entirely certain but suspects the latter.

“He (Hyman) sits on the bed and draws the cover off her legs, then raises her nightgown.  She (Sylvia) inhales with certain anticipation as he does so.   He feels her toes.”

Hyman:  And look what beautiful legs you have, Sylvia…  Sylvia, you have a strong beautiful body…

Hyman:  Sylvia, listen to me… I haven’t been this moved by a woman in a very long time.

Gellburg: … if Sylvia was a man she could have run the Federal Reserve.

Angelo as Sylvia did not have a clear objective.  The dialogue indicates that she is a very smart woman, but seeing only the performance with mannerisms in the extreme, one only sees the wheels of her wheelchair turning.  She is clearly in love with Dr. Harry Hyman.  She wants him as a doctor and for “other things” but she has this impotent husband (that she clearly does not love) in the way.  The ending gives her a choice that needs to be clearer, otherwise there’s no play and the audience is left feeling very unsatisfied. 

Bofshever as Gellburg was excellent in the role but playing a defensive posture throughout leaves him room for little else including taking responsibility for his assault against his wife. Also, if he needs help, he really needs to find it no matter the cost.  Not to take away from his marvelous performance but to add another dimension.

Dunne, was spectacular as Margaret Hyman.  One was impressed by her ability to look through the thin sheet of glass that is her husband and keep him on the right path.  Tall and dazzling she moved gracefully from scene to scene.

Burleigh, as Dr. Harry Hyman, was comfortable in the role.  What was Dr. Harry Hyman’s objective?  Did he want to cure Sylvia, or sleep with her?  There is another level and something was missed on this particular night.  After all, if you are doing something against character, one must be aware “this is unethical and therefore conflicted that this bridge must not be crossed”.  One really needed to see this in the performance.

Geerlings as Harriet (the spy) did a nice job.  She also has an objective that was not imaginative and needs to be clearer in order for her to succeed in the role.

Ginter as Stanton Case was outstanding.  He was effective in his quiet moments of strength.  He was also someone you didn’t want to cross or call him to task on his unconscious racial bias.

Elina de Santo’s direction is confusing.  It is probably not Arthur Miller’s best work but it is fine nevertheless.  Miller gives a lot of clues as to the characters motives, intentional or subconscious. One always hope the actors are multi-dimensional, but believes there's more to be had in the ways of the characters and their actions.   Focus should be placed on the characters objectives and the directors through line.

Kristallnach seems to be a backdrop to Broken Glass.  It is not necessarily the main focus of the play but something that propels the events in this play to make it historically significant.  This is a very nice idea indeed. 

For reservations:  PicoPlayhouse.com

The Comedy of Errors by William Shakespeare

By Joe Straw

Variety is a sweet source of inspiration.

I was backstage at the opening night of Sugar Babies with Mickey Rooney and Ann Miller at the Pantages in 1979. The show featured a wonderful fan dancing routine that highlighted the dance life of Sally Rand who incidentally started her career in the 1920’s.

Sally was there that night and, wanting to be the center of attention, she motioned for someone to get her something near the wings. Suddenly she flipped off her loosely fitting gown. Underneath, she had on a pair of see-through white tights and nothing else.

Handed two large fans, she extended her arms—one far to her extreme right and the other far to her extreme left, covering, nothing.

The press gathered around to take pictures. But the gravitational pull on the upper part of her body was not kind to her aging body. One might say gravity was winning the war so much that the newspaper photographers, suggesting that their readers were of the "family" variety, asked her to place the fans in front of her.

She scoffed indignantly but whipped the fans in place with an elegance known only to her. And then she rolled those fans perfectly in front of her nude body.

Since then, I have had a fondness for fan dancers.

The Comedy of Errors by William Shakespeare at A Noise Within and directed by Michael Michetti starts with a spotlight on the fan dancers who introduce the characters in a fashion of frivolity and amusement.

Wow! What an opening! Set in the roaring twenties, the show plays as a vaudevillian act, which was quite amusing! The purpose was to enlighten and inform so there’s not a lot of guesswork concerning the characters. And it also creates Shakespeare in a form the audience can understand, so simple, so touchable, and so within our grasp.

This production of Comedy of Errors is a fascinating, on the edge-of-your-seat, wild ride. It is a cohesive and tremendous ensemble of wonderful actors in a marvelous character driven show.

The opening is very imaginative, with a film reel to boot by Ali Murtaza, describing an unfortunate accident many years ago on the separation of twins. It was so cleverly done one can hardly keep to one’s seat.

Briefly, Egeon wonderfully played by Michael Stone Forrest is sentenced to die because he is in Ephesus and Syaracucians merchants are not allowed to be there. He will die unless he can come up with a thousands marks. He recounts his sad tale of his predicament about two sets of twins lost in a storm to Duke Solinus (William Dennis Hunt) who takes pity but gives him a time frame with which to secure the funds for his release. Shackled, he is led away. (In this condition, how in the world is he to secure the funds?)

Okay, so, we have two sets of twins, Antiphelus of Syracuse and Ephesus, played by Bruce Turk, and Dromio of Syracuse and Ephesus, played by Jerry Kernion. Of course they are separated and come back as different twins in a comedy of errors. Simple enough.

There is a slight caveat in the focus of Michael Michetti’s direction. Comedy of Errors is a play and not a vaudevillian production, but that aside, in order for this production to completely work the relationship between Dromio and Antiphelus requires the relationship to be spot on. Forget the pratfalls, the straw-hat business, and other things that don’t move the story along, rather focus on the relationship of master/slave so the story falls into place. It is critical for the comedy of errors to work and once the audience completely buys the relationship and their predicament the rest of the ride is downhill from there. But this is one minor objection in this wonderful production.

Bruce Turk, as Antipholus of Syracuse/Ephesus was charming throughout. A master when he wants to be and an exasperated being at other times make his performance all the more enjoyable. An objective that is slightly more focused would only add to his marvelous performance.

Jerry Kernion, as Dromio, came out at curtain call with an expression on his face suggesting not everything worked this opening night. But one guesses the audience will tell him what works and what doesn’t and he will fill the role gracefully as the production continues. Not to discard his performance as there were a lot of funny moments in this role. Keep the baby but throw out the bathwater.

Abby Craden, as Adriana, fills the role rather nicely. But one couldn’t help think there is more to this role in a vaudevillian setting than what was witnessed. She obviously wants her man, on her terms. But, are there more inspired ways to go about getting it?

Annie Abrams as Luciana is very charming and delightful in many ways. Certainly there are more ways to sooth the angry cat, Adriana.

Michael Stone Forrest is a standout as Egeo. Ready to truckle to the blade of the gentlemen’s gallows but delays his fate with a nice life saving protracted story of his life. Nicely done.

Gibby Brand as Nell/Abbess is charming in this gender bending turn. He is amusing and as lustful as one can be in the character’s pursuit for a substitute for marital happiness. Nicely done and a wonderful performance.

William Dennis Hunt as Duke Salinus always delights and is unfaltering in his commitment to lay down the law of the land. He pays wonderful attention to details and commands his minions to perfection.

Paul D. Masterson as Balthasar with a less than spectacular posture moved about the stage as though he were missing a number of discs in his spinal column. Not able to get the girl he fights for his money.

P.J. Ochlan as Angelo was absolutely incredible. A multi faux linguistic proprietor of words and dressed as an Italian sailor with eyes as slits and brows that drooped to his knees. This was a funny and inspired performance.

Rene Ruiz as the 1^st Merchant with his dummy was quite charming. One especially likes the dummy calling for “line”.

Andrew Dits does a nice turn as an officer of the court. A circus strongman with the ability, at a moment’s notice, to cut off the head that doesn’t feed him.

Lauren Robyn as the Courtesan was charming in the roll. She has a very strong voice, a compelling commitment to character, and a doer of good deeds. One cannot help but to enjoy the performance of the lead fan dancer.

Also filling out the roles were Andy Stokan, Christine Breihan, Douglas Rory Milliron, Gwenmarie White and Sarah-lucy Hill. These players were completely in tune with this production and each gave more than 100 percent in this successful production.

Film Director Ali Murtaza does a remarkable job in giving us a back-story. Scenic Design by Kurt Boetcher also remarkable in his ability to capture the look of vaudeville. David Bickford as the Pianist/Composer/Sound Designer also did a wonderful job in this production. One particularly likes the noise for “da chain”.

One can go to A Noise Within and be captivated by the attention to details on all of their productions. The work is remarkable and the theatre is good for the community and great for all of those who want to be enlightened.

Run to see this performance!

www.anoisewithin.org

The Cradle will Rock - Book, Music & Lyrics by Marc Blitzstein

by Joe Straw

There is a voice.  It will come from the east.  It will bring harmony and strength to the middle class, lifting them from the bottomless pit that is unemployment, foreclosure, and bankruptcy. This voice will give rise to the spirits of the downtrodden, to have them look at themselves once again with pride, and it will give them the dream to continue.

Wait, and listen for the footsteps, the rattle of the keys, and hear the march to the podium as the voice makes its way to the microphone.  Make no mistake and listen, the voice will come.

The voice will come.

The Cradle Will Rock, book, music, and lyrics by Marc Blizstein presented by the Blank Theatre Company and directed by Daniel Henning is playing at the beautiful Stellar Adler Theatre in Hollywood just east of Hollywood and Highland.

Daniel Henning, the director, is a master storyteller, a modern day PT Barnum, a joker and jester, giving the audience magnificent physical life to his characters in music and story. This is a very imaginative musical, full of life and it’s misgivings.  This is also a marvelous production but one that is not without its imperfections.  

In this musical, there is another voice the characters long to hear and that is the voice of righteousness and fair play.  But sometimes, from this book by Marc Blizstein, it is hard to get to that point, via the through line, but it is there, somewhere.

The musical opens up with Moll (Tiffany C. Adams) a woman who has hit a low point in her life and is out in the street hustling when she comes upon a Gent (Matt Wolpe) who requests her services but for only for the paltry sum of 30 cents (Still, a ridiculously low price for 1937.).  An argument ensues and the police, Dick (Mikey Hawley) arrests her for prostitution and escorts (no pun intended) her to night court.   Her job, on this night in night court, is to observe that she is not the only “prostitute” in the house.

Later another cop (Will Barker) brings in The Liberty Committee.  The cause: (an 808) disturbing the peace at the union rally. He has arrested Dr. Specialist (Rob Roy Cesar), Reverend Salvation (Christopher Carroll), Editor Daily (David Trice), Yasha  (Jim Holdridge), Dauber (Roland Rusinek), and President Prexy (Matthew Patrick Davis).

The Liberty Committee is a misnomer since they have little liberty or independence.  They are a group financed by Mr. Mister (Peter Van Norden) to destroy unionism, communism, socialism, radicalism, and any other “ism” that isn’t to his liking. It is a fact, these people have been bought and they are in court and, maybe this is not by chance.

Mr. Mister, owner of a steel mill, uses his money, power, and influence over others while he observes the dirty wheels turning from his lofty towers.  And he wonders why, at the end of the day, he doesn’t feel good.

But it is the voice of Larry Foreman (Rex Smith) that needs to be silenced.  He is the man coming from the east and he can’t be bought.   He is the man that brings reason for having a union in order to make life livable for those who want to work hard and provide for their families.     

The idea of the musical explains the reasons for the how and why intelligent beings manipulate their lives to look down to the less fortunate from their comfortable perch all for the sake of the almighty dollar.   It also believes that, in the end, Mr. Mister, will come crashing down after the cradle have fallen.   

The musical takes us back into time to show the events leading to this movement. 

But first, all must bow to the King and Queen, Mr. and Mrs. Mister, their money, and their nasty little kids, Jr. Mister (Adam Wylie) and Sister Mister (Meagan Smith) who seem to like to one up each other.

The Editor Daily, wonderfully played by David Trice has a nice little number with Mr. Mister, Freedom of the Press, and is forced to bow down to Mr. Mister and get the goods on Larry Forman. Later he is forced to send Jr. Mister off to Honolulu Hawaii. However Daily seems ambivalent and never really (physically) sends the boy off to Hawaii.  One might recognize there was still a trace of job dignity in his being. 

Jr. Mister seems to be stuck in perpetual adolescence.  Old enough to go to Hawaii to write a column but not old enough to pull the toy out of the Cracker Jack box?  While the intention is to show the audience how the children of the affluent are spoiled and haven’t a care in the world it had the opposite effect of being just plain silly.  This portion of the show did not work on this night. 

And for the artists, Dauber, a painter (Roland Rusinek) and the musician, Yasha (Jim  Holdridge) both of whom vie for Mrs. Mister’s money.  (Eating is high priority on their list.) But they vie for her affection in ways that are not supported by their character. They have wonderful voices and nice costumes (loved the beret and the green cape with the pink lining) but still something was missing on this night.

Jack Laufer is simply wonderful as Harry the druggist.  His coat lining is frayed and spills from the sleeve of his jacket.  He is a man who is beaten by the death of his son, Stevie (Mike Hawley) and as of this point not finding much hope and unable to recover. 

Matt Wolpe and Penelope Yates are equally amazing as Gus and Sadie Polock wanting to have a child unaware of the power and the corruptible and silencing voice of Mr. Mister. The Gus & Sadie Love Long was a wonderful moment in this production.  It was simple and elegant, heartwarming, and touching. 

Behind every bad man there is an equally bad woman and Gigi Bermingham fills the bill as Mrs. Mister a woman who ignores her children and tries to squeeze the unpleasant professional juices of every human being within her grasp.  A nice role and wonderfully played by Bermingham.  Her entrance was remarkable as she blew past them and then held her gloved hands out to be kissed.  (Usually that is done with someone of the same stature, nevertheless…)

Davis as President Prexy was charming, tall, and looked like Jim Carrey in many ways and yes he was funny.  

Carroll as Rev Salvation was paid to preach a sermon to his congregation as part of the agenda of furthering the cause of war. It’s hard to believe a man of the cloth would stoop to despicable means.  With a twinkle in his eye and some bills in his pocket he is able to overcome that “God guilt thing” in his arsenal.   A saintly performance.

Cesar as Dr. Specialist showed he had a heart.  He probably didn’t like what he was doing to Ella Hammer (Lowe Taylor) but it was not his concern because she didn’t have any money.  There was an honor in his performance.  Nicely done.  

Barker (Professor Trixie) did a nice turn as a marine like professor complete with six-pack.

But Rex Smith as Larry Forman was the voice everyone was waiting to hear, full of inspiration and things that make people do the right thing.  His entrance, nicely done, brought forth a well dress man (not necessarily the cloth for a union spokesman).  The inspirational words need to find the mark and after this is done one will get the reason for his being.

David O, Musical Director, does yeoman’s work playing the piano and being the court clerk.  It was wonderful music and a wonderful job. 

One can see the parallels in today’s society.  It’s easy to find.  One need only look at Countrywide, Enron, Blackwater, Halliburton, AIG, and BP.  Will this madness never end?

The Cradle will Rock was first produced by Orson Wells and John Houseman as part of the WPA Federal Theatre Project in 1937 under very trying circumstances.  It was believed to be too leftist and shut down by the government.  It’s nice when you can be funded first and then shut down by your own government second. 

For tickets and reservations:  www.theblank.com
Go see this show.