TV. That’s like, Art perfected!

This is a theater generation raised on movies as the ideal. Movies and theater are no longer considered different mediums of communication, but just different genres of production, with movies being the obviously superior model, restricted only by production difficulties.

On his blog, A Producer’s Perspective, Ken Davenport tells his readers about his plan to start producing movies. In it, he describes the difficulty Broadway shows have in finding high-calibur venues, using a recently cancelled US production of Titanic (the musical) as an example:

It costs a lot of money to do out-of-town productions, and since the producers of Titanic couldn’t get a guaranteed Broadway theater sometime in the coming season, they wisely pulled the plug.  They didn’t want their ship sitting in the harbor with nowhere to dock . . . and no guarantee that it would ever dock.”

I’ve already written about movie-musicals, and Bitter Gertrude has an article about the Tony’s (and by extension, Broadway) that nearly brought me to tears of joy (it was like Winston reading Goldstein’s book shortly before his arrest), BUT there’s no denying that they make bank, and as Davenport points out, he is a businessman. So, since he can’t produce plays right now, he’s going to start producing movies. And why not? He’s a businessman. If he can make money in what has become the same field, why shouldn’t he? He certainly doesn’t claim to be an artist of any kind, so happy trails and a good “know thyself” to him. Other than the minutia of what to spend where, they’re all the same to the producer.

But they seem to be all the same to actors, directors, and designers as well. Except that movies all look to be much bigger, fancier, and flashier. When I watch a play nowadays, nine times out of ten I feel like I’m watching a movie put onstage (which I guess explains the proliferation of movie-musicals). I see the same blank-faced vapidity being sold as subtlety: empty-eyed actors imagining a non-existent camera closeup, trying desperately to pretend we are not there. I see the same sarcastic scoffing, shrugs, and scrunched faces of 90’s sitcoms and the modern films that are still drawing their inspiration of that age. I see Brechtian Representations of emotion, where actors make the faces and noises that TV has taught us to associate with different feelings and sensations, then we audience see and accept them as Naturalism instead of the exact opposite. It’s like a contemporary Delsarte, except everyone’s pretending that it’s motivated, natural, relational acting.

Art is meant to challenge those who perceive it. But challenge is not profitable. Comfort is profitable.

The reality is that the Free Market in general and Capitalism in particular have never been friends to art in any capacity, save what we call commercial art (the art of being pretty). Challenging innovations, while often celebrated, are always overshadowed by what is familiar.

Here’s a great video about how the same applies to video games.

The myth of profitability and artistic-quality (whatever that means) being one and the same took a strong foothold in the US during the Modern Art movement, which is hilarious since Modern Art’s success was due in no small part to government funding. The Impressionists (and Neo-Impressionists, for that matter) survived off the charity of their friends, hoping to land a government contract so they could coast along for a while before leaching off their friends again. Van Gogh was a failure in his life. Poe found success by publishing stories in women’s magazines that he hated.

Here’s a big one. To my admittedly limited knowledge (and I do want to stress that this knowledge is limited), Shakespeare’s plays were no more successful or popular than his contemporaries. Shakespeare found success as a producer, and his company produced plenty of plays aside from his own. There is no evidence that Shakespeare’s financial success had any significant relation to his talent as a writer.

We admire movies because we want to be famous.

We are obsessed with celebrity, a pantheon of super-mortals so like us, and we all worship them in the hopes that we might be rewarded for it, or even become one of them ourselves. It’s like the Greek Pantheon. There is nothing admirable about these people: their success is not related to their hard work (if they worked hard) or their talent (if they have talent) or their social skills (if they have social skills). Their success to due to having the right connections (which usually means being born to the right families), their appearance, and of course being the right place at the right time. It’s this last one that keeps us all playing the cosmic lottery of worship, thinking that someday our ship will come in and we’ll get our own Constellation.

A great way to justify this obsession is the mass-delusion that good things happen to good people (psychologists call this the “Illusion of Justice”), and that therefore all celebrities are necessarily hard-working, talented people, and that their success must be linked to these factors. Specific exceptions (and there are many of them) are always treated like isolated incidents and dismissed, so we can continue obsessing. We only respect kindness in those who have the power to be cruel, and nowhere is this better seen than in the worship of our favorite celebrities.

Movies are entertainment. Entertainment is comforting. If comfort is the primary purpose of Art, then it’s time for theater to die; because theater cannot provide better spectacle, more streamlined stories, prettier actors, or just plain better entertainment than movies can. What Theater can do better is engage directly with the audience: challenge their assumptions or make them complicit in the moral ambiguities of the characters onstage. And, I suppose, plays provide exclusivity and the bragging-rights that comes with that exclusivity, but you have to take the good and the bad together.

Anyway, I feel like I’m kinda all over the place with this thing. The point is, a movie is not a play. Everyone pays lip-service to “Love the Art in yourself, not yourself in the Art,” but I don’t see any other reason why people who call themselves theater artists would continue to worship the screen, to pretend that it’s something to which we should aspire, rather than just a great way to make a lot of money. The Screen is potato chips, the Theater is the French rooster pie (or some other fictitious high-class dessert).

Oh! Here’s another great video about how this also applies to video games.

Right now, there’s a lot of hullabaloo (love that word) about the upcoming film version of Into the Woods. I’ve seen this play exactly twice in my life, and I loved it. I have absolutely no need to see it onscreen. The movie of the musical is just like the t-shirt of the musical. If you don’t like it, don’t buy it. Who cares? It’s not the musical; it’s someone’s attempt to make money off the musical.

Blargging.

PS: Paul Rudnick’s I Hate Hamlet is largely a comforting love-letter to Shakespeare fans, but it does have some good commentary about stage vs screen. This is perhaps best encapsulated by a monolog, spoken by Gary (the lead’s agent).

“Can I be frank? I don’t get it. The theater. It doesn’t make any sense. It’s like, progress, right? Take it step by step. Back in Neanderthal times, entertainment was like, two rocks. Boom boom. Then, in the Middle Ages, they had theater. Then came radio. Then silent movies. Then sound. Then TV. That’s like, art perfected. When you watch TV, you can eat. You can talk. You don’t really have to pay attention, not if you’ve seen TV before. Nice half-hour chunks. Or even better, commercials. Thirty seconds. Hot girl, hot guy, the beer, it’s all there. It’s distilled. I mean, when I go to the theater, I sit there, and most of the time I’m thinking – which one is my armrest.”

Random Stuff, Theater Stuff

The Maelstroms of Europa: PART 2

Moon Cavern. "The moon... It's cold and bleak up there, they say. Perhaps in a cave, on a comfortable rock, Viewing the expanse of some lifeless lunar desert, I'll learn to dream smaller, less tumultuous dreams."

“Fortunato!” reverberated in her head, like a dozen tennis balls bouncing in an industrial-sized wok.

Lorelei stood in statuesque rictus, implacable as a machine; fitting, since she was anywhere from forty-five to sixty-percent machine, depending on personal definition and depth of observation. Her powerfully-hinged feet were perched with sparrow-like balance on a promontory of rough, jagged ice. Her arms, either coated or composed of titanium alloy, were extended like Moses parting the Red Sea, and from each finger erupted blue-white veins of thoroughly amoral electricity: Jove’s own bolts flung out like spring-action spiderwebs, both rigid and alive with fury. Her jaw was set firm as the immotile ice.

Her honey-brown eyes, like pools of ancient amber, were stuck wide open, rusted at the hinges by frozen and now blown-away tears.

At the back of the base of her neck, a single light on her access panel was blinking green. All systems were go.

The lightning from her fingertips stretched all the way out to the extremes of Europa’s atmosphere in manners most terrifying, churning the normally banal firmament into a sulfurous, supersonic, utterly indifferent hell-scape, fully capable of casual genocide. She was a metal tree, the bolts her immense branches, and the apocalyptic storm above her leaves, soaking up life wherever they found it. She had no roots, however. She was standing on ice.

Lorelei had a very lyric disposition whenever she was performing mindless tasks.

Inside her head, gears ticked away. She had a brain, like any mortal might, but Lorelei’s lump of fat and mucus and dendrites was augmented by wires, cogs, and readout. Nestled among the folds of her brain-and-then-some, number-engraved gears were counting down. When they reached their zero, something clicked, something else stopped ticking, and the blinking green light on her access panel stopped blinking. It was solid green now.

In less than a millisecond, the lightning was gone. Lorelei’s fingers contracted like an old arthritic’s, and her petrified eyes ogled at them like strangers. Her very human lips twisted in an ugly amalgam of fury, offense, and horror. An awful compulsion overtook her, to rub at her rusted eyes. She knew it would do no good: she had to oil them first then gently dab them clean with her wash cloth. But despite all logic, the compulsion was there, and it wouldn’t go away.

Was this a human impulse? Or part of her programming? Lorelei was asking herself this sort of question all the time.

Above, though severed from its source, the storm rolled on.

She could see her clearly, like a hologram, standing before her. The space ship captain, attentive and solid as a statue, staring down the planet’s merciless atmosphere with the conviction of an old man staring down his younger, stronger, more violent son. There was no fear on her face; apprehension seemed hidden even from her eyes. The illusion before Lorelei was insubstantial, but the woman it represented was as solid as granite.

Then the illusion shifted like a cloud formation, melting and molding into something else. In a few seconds, a different woman was standing before her.

“Fortunato.”

The name was hissed, a curse more vile than any she might invent. The source of the hiss, she knew, was standing behind her. She refused to turn around, refused to show weakness. Instead, she answered, “Show me the captain again.”

The illusion, as stubborn as its creator, refused to change.

The hiss spoke, “She did this. Not you.” It was a round, warm, dark murmur, a comforting voice. It was a very human voice, she thought, despite the one who employed it. She felt a scaly hand on her right shoulder, the claws making gentle divots in her skin. “Say it,” the voice warmly commanded.

Lorelei wanted to close her eyes, but knew she couldn’t. She didn’t sigh, didn’t take an unnecessarily deep breath. The hiss knew all these tricks, meant to convey a lightness she didn’t feel. Instead, she let a controlled, calm voice answer, “She did this. Not me.”

She could feel him smiling behind her. “You’re more a slave than I am. Remember that.” his other claw appeared on the left side of her vision, holding a small bottle of oil and a newly-washed cloth. She took them and began gently dabbing at her eyes.

Slowly, Carnifex crept into view. His serpentine, fishlike body was hunched over, shrinking to make himself appear smaller than he already was. His left knee, unlike the rest of his green-scaled skin, was brown and bloated, and he hobbled weakly each time he walked on it. His hands were small but strong, though they and their claws were nowhere near as powerful as his massive jaws and the two rows of serrated fangs that filled them. His bulbous blue eyes seemed vacuous and empty as a stockyard beast, but Lorelei knew them to be filled with both deep wisdom and sharp cunning. Carnifex could be as kind and comforting as a father when he chose, but he also had a vicious streak that made her flesh crawl (at least, what flesh she had).

Right now, all of his venom was aimed at the illusion before them. “There were people in that ship,” he explained, redundantly. “You know that, yes?”

“Yes,” she answered, also redundantly. The middle-aged woman standing before her was a study in disharmony. While Lorelei was half-machine, everything was a product of considered design: smooth lines and idealized function blended perfectly with the good gifts of nature. Carnifex, though unique in shape and damaged by time, was beautiful both in his form and his utter primacy on the planet that was unquestionably the mother of himself and his fallen species. In Fortunato, however, the Universe showed its propensity for chaos.

One of her eyes had been replaced with a goggle-like sensor, alternately red or green or black, determined by either its current function or her current mood. Thin, compressed lips hid parti-colored teeth: ivory, gold, onyx, titanium, and even one of tin. Fully half her scalp had been replaced with a bronze sheet, which Lorelei knew hid a layer of blue scales of unknown origin. One ear was coated in gold, the other replaced with a small, stationary radar dish of some kind.

Her neck was actual leather, complete with a zipper at its front. Neither Lorelei nor Carnifex knew what was behind that zipper: Carnifex had attempted to discover the secret once, and paid dearly for his presumption. Her robes, both copper and powder blue, were sewn into the leather throat: presumably, Fortunato never undressed. Her arms were entirely mechanical, but her hands were scaly and clawed, almost identical to Carnifex’. Her legs (what could be seen of them beneath the robes) looked perfectly human, though the bones within had been replaced with titanium rods and gears. Contrary to all this, upon her feet she wore a pair of simple blue slippers: light, functional, and comfortable.

Lorelei looked upon the woman’s face and saw neither sympathy for others nor the desire of it for herself. She saw determination for some unknown goal, something that had been inexplicably hidden from her all her life.

Or had it?

Out of nowhere, Lorelei thought of her thirteenth birthday. Alone together on this Europa, Carnifex had prepared a feast of waxy fruits and sugar bread. Fortunato had been sealed away in her lab for a week, and the two had been left to their own devices. It was never clear which one had been meant to look after the other. Carnifex had been the same size since he was two, and Lorelei was boasting that she would soon be taller than he was. He laughed at this, but she now saw through the lens of history a distant sorrow in his eyes, covered by his crinkled ocular film lids.

Carnifex stood before her, more or less blocking the illusion. “What are you thinking of, Lori?”

Her brown eyes were wide and vacant, lost in the past. “Birthdays.”

Why had she thought of this? In an instant, with the speed of a superior processing unit, she considered her birthdays: fourteenth, fifteenth, sixteenth, seventeenth, eighteenth, and nineteenth. In each, Fortunato had been elsewhere, in each Carnifex had been with her, reminding her that they were the same age for only two more months, before his own birthday would once again make him the elder and the wiser.

He could not read minds (as far as she knew) but Carnifex seemed to know all the same. “You’re going in the wrong direction.”

Before she could quite make sense of Carnifex’ sentence, the illusion stepped around him into plain view. Fortunato’s previously blank face contracted into magnetic fury, and her eyes moved toward the serpent’s back.

This was no longer an illusion.

The old woman’s lips parted, her eye narrowed, and her sensor-lens changed to red as she snarled “Carnifex.”

A hissing sound was heard, more mechanical than biological, and Lorelei’s friend collapsed to the ground.

Maelstroms of Europa, Stories

The Maelstroms of Europa: PART 1

NASA/JPL-Caltech (http://solarsystem.nasa.gov/images/europa_48_bkg_700.jpg)

NASA/JPL-Caltech

The perverse chorus of screams and howls was underscored horribly by wrenching metal, explosive bolts of lightning, and most troublingly: shrieking winds. Had the ship’s oxygen field been compromised? Were they measuring their lives in minutes, or seconds?

Captain Elena Gonzales bestrode the Helm like a Colossus, deviating not one step from her place. All around her, Chaos reigned like an angry and evidently confused god: the type of god who, while searching for his keys in the dust bin for the third time, violently insists that someone must have snuck into his flat and stolen them. Gonzales indulged herself by tugging at her high collar for a second. She took as deep a breath as she could; holding it, thinking for the forty-second time that it seemed irrational to require ladies, especially star-ship captains, to wear corsets.

Well, at least five seconds had passed, and they were not dead. Clearly, the oxygen field of the SS Icarus had not been broken. This could only mean that the banshee-call of the super-stellar winds was so loud, so unearthly immense, that it reverberated through the virtual walls and into the ship itself. Still, being torn to shreds by winds traveling over five-hundred-thousand miles per hour in about ten minutes when they inevitably destroyed the oxygen field was a damn sight better than being torn to shreds by winds traveling over five-hundred-thousand miles per hour right now. All in all, things were looking up.

Captain Gonzales looked up. The crew was running about, pushing things one aught not to push, pulling things one aught not to pull, yanking on things on which one aught not to yank. The cafeteria crewmen, Sponde and Titan, were huddled between the Map Deck and the Solar Telegraph, no doubt murmuring to each other about black cats and broken mirrors; what they were doing on the flight deck in the first place was unclear. Ferris, the First Mate, was running back and forth between two undamaged pieces of equipment, evidently trying to fix what was not broken; or rather, what was not yet broken.

Doctor Andromeda was calm. That was odd. Not odd for Andromeda himself, as he rarely rose above a seethe, but he was not the man Gonzales counted on for courageous sangfroid under duress. That man, Daedalus “Deuce” Divine, the Pilot, was nowhere to be seen. The Captain allowed herself a brief “Hrmph.”

A full forty-five seconds had now elapsed since the first shock to their hull, and the crew showed no signs of returning to their positions. ‘Well,’ Gonzales thought to herself, ‘this little holiday has gone on quite long enough.’ With a sturdy middle finger, she flipped a switch on the Pilot’s Wheel, and a megaphone sprang down from the ceiling. The Captain indulged herself one final time by clearing her throat, something frowned upon greatly by her childhood vocal instructor.

It should be noted that all three of Captain Gonzales’ aforementioned indulgences had centered around her throat.

“Now then,” she spoke into the megaphone, clearly, articulately, and moderately. One might suspect that, even through a megaphone, the Captain’s equilibrious tone would have failed to arrest the attention of her crew. Fortunately, this was a Gargantua’s Brand Industrial Quality Loudener product, and was well equipped for even super-terrestrial use. The Captain’s voice shook the SS Icarus more bodily than the storms without; so much so that the tumult following her first sentence seemed demure by comparison. As one, the crew stilled themselves and looked to their commanding officer, hands held dutifully over their ears.

Gonzales, her own head ringing with her own voice, in her own ship no less, pressed on stoically. “Ladies and gentlemen, kindly return to your posts. The oxygen field, a product of the good people of Inpenetro’s Encapsulation Emporium, has proven to have withstood the onslaught of this fearsome tempest. We have endured four-hundred-ninety-three nights’ travel to reach the surface of Europa, and I should be sorely disappointed to be frustrated not a day from our goal by something as tedious as my own demise. Please do your captain the favour of ensuring that the beeps continue beeping, the clicks continue clicking, and the supra-attenuative-thrustal-motivators continue… motivating.”

The crew, as a body, continued to stand and stare.

Perhaps more goal-oriented leadership was required. “Mister Sponde,” Gonzales, with the aid of the herculean megaphone, inadvertently bellowed, “please coordinate with Miz Titan and search for Mister Divine. I should dare say we are in need of a pilot at present. First Mate, I would appreciate your company at the Helm.”

She briefly considered shouting “Now” into the already deafening device, but was preempted by a particularly ferocious knock to the ship from without. This seemed to galvanize everyone more effectively than the supra-attenuative-thrustal-motivators, as the entire crew exploded into action once more; and while much of that action seemed largely either for show or self-assurance, the two cafeteria crewmen were indeed moving in a specific trajectory, and the Mate was indeed gravitating toward the Helm.

After wisely returning the megaphone to its perch above, the Captain shouted, “First Mate, what do you think of the Wheel?”

Ferris, a slender and fairly pretty sort of idiot, dutifully examined the Wheel. “It’s spinning all over the place,” he answered. His response was drowned out by the tempestuous howling of the stellar winds, but Gonzales knew her second-in-command-if-in-name-only well enough that she could grasp the tenor of his speech.

“Kindly arrest the Wheel,” she riposted, and without waiting for a reply, she began striding confidently toward Doctor Andromeda. A few seconds later, she was rewarded with a high-pitched yelp and the unmistakable thud of the Mate once again being thrown bodily to the floor. It was something of a habit with the boy, and probably his most endearing quality.

Andromeda paid no attention as she grew closer. “You seem remarkably calm,” she offered with no preamble, “especially in light of recent developments.”

Silence.

With her usual caution, balanced with her usual forthrightness, she reached out and tapped the short, solid man on his barely balding pate.

“Hm?”

“I said, you seem remarkably calm under the circumstances.”

Andromeda seemed to be waking from a dream. “Sir, uh… Circumstances?”

Gonzales pursed her lips in guarded skepticism. “Doctor Andromeda,” she began, a not so subtle emphasis on the man’s title, “did you happen to notice the stellar storm that is threatening to tear my ship apart?”

“Storm?”

“Doctor Andromeda,” again, with even less subtlety, “would you mind awfully, taking a brief hiatus from your meditations and looking about?”

“What? What’s wrong?”

After a moment’s consideration, the Captain chose not to sink to the level of sarcasm. “Our ship is under attack from unanticipated forces.”

The Doctor shook his head, his eyes still distant. “Who could predict or control the maelstroms of Europa?”

“Exactly my point, Doctor. Who could?”

At last, Andromeda seemed to realize where he was. He looked into the Captain’s eyes, as a clever dog being asked to provide a new alternative to String Theory. That is, confusedly. “What do you mean?”

“Well Doctor, seeing as you are the acting president of a Project whose sole responsibility was the observation of the moon Europa with an eye towards human habitation, one might justifiably draw the conclusion, if you’ll pardon my allusion to your own poetry, that you might be expected to predict if not control these maelstroms of Europa.”

The Doctor shook his head. He was out of his depth, much like a seagull in an oubliette. “It’s Fortune…” he answered, perhaps to himself. “It’s all Fortune.”

Gonzales allowed herself an unnecessary exhalation before concluding. “Your unprecedented superstition is less than conciliatory, Doctor Andromeda. Now tell me, are you at all familiar with the Inpenetro oxygen field?”

She couldn’t help suspecting that this question was purely academic, and the Doctor’s hypnotized silence confirmed her suspicions in short order.

The Captain sighed. The Captain never sighed. This was a bad sign. The fact that the sigh was quickly swallowed up by ship-rocking, cacophonous, thundering howls and screeches, unlikely to be heard by anyone other than the out-to-lunch Doctor, seemed particularly portentous.

Unbeknownst to the Gonzales, however, was that the bizarre and as-yet-unknown physics of super-terrestrial sound-waves, combined with the as-testified unpredictable nature of the Europa’s impending atmosphere, had managed to carry her sigh around the interior of the Flight Deck, where it circled several times and (much like a feather) whispered just past the ear of First Mate Ferris, who had only now managed to get the Wheel under relative control. Just as he had gotten his feet securely into a position echoing someone of greater authority than himself, the thoroughly unimpressed sigh brushed by his head.

“What was that?” he asked no one in particular.

At that exact moment, a sound like the cracking of Jupiter’s femur resounded through the SS Icarus. In a manner of less than two seconds, everything that defined what was outside the Icarus and everything that defined what was inside the Icarus, ceased to be.

Gonzales tightened her jaw. As the Captain, this was all ultimately her fault, and she was grateful that the mindless abandon of her crew would keep them from judging her too harshly, during these last few milliseconds that they were capable of judging anything at all.

In those final instants, before everything that defined what was outside her head and everything that defined what was inside her head ceased to be, Captain Gonzales heard a solid baritone shout out something.

It seemed to her that the voice shouted, “Fortunato!”

And then it was over.

Maelstroms of Europa, Stories

Contemporary Sentiments Clash with Poetic Language in Strangeloop’s Midsummer Night’s Dream

Mary-Kate Arnold and Letitia Guillaud as Helena and Hermia. Photo by Austin D. Oie

Mary-Kate Arnold and Letitia Guillaud as Helena and Hermia. Photo by Austin D. Oie

Strangeloop closes its fifth season with a valiant attempt to bring the visceral passion of Shakespeare’s most popular comedy into the faces and hearts of modern audiences. Director Holly Robison sets A Midsummer Night’s Dream in 1940’s America, and more importantly brings the staging into promenade style: the audience is invited to sit anywhere and immerse themselves in the action.

Learning this was music to my proverbials, but I found this innovation to be somewhat underutilized in a frenzy-paced, superficial, but ultimately satisfying production of passion gone awry. I’m certainly not advocating the forced audience interaction of children’s theater, but I did feel the audience could have been used more often as silent confessor, source-of-opinion, or just an actual audience for characters who are very aware that they are not alone in such an intimate space. Helena (Mary-Kate Arnold) makes good use of the audience in her opening-scene soliloquy, but engagement quickly dwindled when we entered the Forest. All the same, anything that makes a play even slightly less cinematic is very welcome news to me (Immediacy is one of Strangeloop’s missions, which I support whole-heartedly).

The Forest itself was both simple and beautiful. Lauren Angel-Nichols’ design facilitated movement well, evoking enough realism to engage without turning the show into a museum pageant. The use of small, white Christmas lights on the bridge-like centerpiece and in a halo above (and dispersed elsewhere), whether the work of Nichols or lighting designer Eric Van Tassel, was a great decision: classic theater magic.

Carrie Campana’s costumes, likewise, were beautiful without distracting from performances. The three Types of characters were clearly demarcated, and the relatively vanilla color-palate of the Lovers’ clothes contrasted well with more elaborate Faerie costumes. In particular, Oberon’s long-jacket festooned with Faerie-isms was a nice melding of worlds and a welcome reminder that this is a play we’re watching, where magic is made out of reality, which I always enjoy. Even Bottom’s ass-head, though not the most impressive ever made, is functional and allows us clear access to the actor’s emotive face (a “realistic” ass-head that completely obscure’s Bottom’s face is only funny for about five seconds, and a burden for the rest of the show).

Oberon (Geoff Zimmerman) disenchants the sleeping Demetrius (Tim Larson)

Oberon (Geoff Zimmerman) disenchants the sleeping Demetrius (Tim Larson) Photo by Austin D. Oie

The story begins in the lobby, turning the audience into Duke Theseus’ court, as well as street-Athenians and even potential players for the Mechanicals’ Pyramus & Thisbe. The premise of Hermia’s engagement is laid out by a solid and very motivated Egeus (Kitty Mortland), who starts the play on a strong note. Unfortunately, this energy was quickly stonewalled by a thoroughly disinterested duke (Geoff Zimmerman, playing both Theseus and Oberon), who come-hell-or-high-water was not about to emotionally invest in the dilemma of Hermia’s marriage and potential death. This could be forgiven in the opening scene, where Theseus and Hypolita are noticeably more interested in each other, but it proved to be a recurring theme throughout the show.

But more about that later. The Lovers, by contrast, were passionately invested in themselves and each other, easily making them the highlight of the show (a smart move, since they have the largest roles). Tim Larson (Demetrius), Ken Miller (Lysander), Letitia Guillard (Hermia), and Mary-Kate Arnold (Helena); rather than wallow in wispy, lovelorn wonder, choose to pursue their desires with the intensity of life-and-death. It’s the lynch-pin of comedy, and most drama, for that matter. Some disservice has been done to this production, however, as the Lovers were evidently directed to deliver the majority of their lines at an insanely rapid pace. Immense amounts of poetry and textual value were skimmed over in the name of brevity: as much as I dislike cutting Shakespeare, I think I would have preferred excessive cuts to such inarticulate speed. Arnold’s Helena does provide some welcome variations in pitch, volume, and duration to great (and funny) effect; both Larson and Miller slow themselves when calm, but calm is a rare state with Midsummer’s Lovers. Luckily, Larson’s Demetrius gets to showcase some subtlety-chops near the end with the “But like a sickness did I loath this food” speech, and likewise Miller’s Lysander with his charmingly clumsy seduction of Hermia upon first entering the forest.

Perhaps (and this is entirely my supposition) the Lovers were ordered to such a fevered pace so that the historically crowd-pleasing Faeries and Mechanicals could take their time. In this particular production, however, I think that was a mistake.

The amount of sarcasm, bitterness, and snide superiority expressed by the Faeries and Mechanicals was, in a word, astonishing, as was the utter lack of playfulness, naivete, and/or passion that has served these roles so well in the past. It was certainly a new take, and the performances were believable, but virtually none of these characters seemed to care about what they were doing, nor anyone else onstage, nor really anything at all. Maria Burnham gives us a remarkably angry and callous Quince who, while very recognizable to modern audiences, seemed like inserting Mickey Mouse into Hamlet. I could not understand why she would cast such an overtly despised Bottom as Pyramus (Michael Houghton Wagman), why she would tolerate his presence, nor indeed why she was staging Pyramus & Thisbe in the first place. As I understand it, a Bottom who only cares about himself and thinks nothing of the performance or the other actors is standard faire, but I just don’t see the appeal of it. Bottom and Quince dominate the Mechanical scenes, and I consistently found myself asking why I should care about them at all when they have so little care for anyone or anything else. Maybe their admiration and/or need for each other was too well-masked for me to notice, but I don’t think Pinter meshes well with Midsummer Night’s Dream.

On the flip side, Naomi Lindh and Miona Lee (Flute/Peasblossom and Snug/Cobweb, respectively) created nervous and physically-informed Mechanicals who actually cared about the people around them. Lee’s Snug in particular seemed focused and invested every time onstage, ready to explode into action when given the chance/cue. Sadly, when dawning the guise of pixies, they become as jaded and uninvolved as everyone else. This must have been a directorial decision (given its overwhelming presence), but when the overreacting Lovers and under-reacting everyone-else are never onstage together, the contrast seems to serve little purpose. I was especially surprised that the Faeries, for whom it is easiest to justify stylized passion and wild abandon, were so constantly smirky, snide, cynical, un-animated, and uncaring.

All the same, Shakespeare is Shakespeare and always worth seeing and hearing. Kitty Mortland and Miona Lee are especially valuable assets (it’s a shame we don’t see and hear them more), and while I disagree very strongly with a lot of the choices made, all actors commit strongly to those choices, and a committed Shakespearean performance is always a triumph.

Reviews, Theater Stuff

On the Twelfth Night!

I get to do Twelfth Night twice in one year!

I’m super-plus-excite to finally announce the cast for HD Productions’ Twelfth Night in Milwaukee:

ORSINO: Stuart Mott
VIOLA: Hayley Cotton
FESTE: Tawnie Thompson
Sir TOBY BELCH: Shanna Theiste
MARIA: Sasha Sigel
Sir ANDREW AGUECHEEK: Eric Scherrer
OLIVIA: Bridgette Well
MALVOLIO: Ethan Hall
SEBASTIAN: Glenn Widdicombe
ANTONIO: Rachel Zembrowski

Theater Stuff

Lose No Labour

Much like the quality of mercy, a labor of love is not strained.

Think about it.

Anyway, I’m pleased as non-alcoholic punch (which is to say, entirely too pleased with myself) to finally announce the cast of Love’s Labour’s Lost.

Ferdinand, King of Navarre: Jason Powers
Berowne: Sarah Thompson
Longaville: Adam Betz
Dumane: Danny Mulae
The Princess of France: Erin O’Connor
Rosalind: Alyssa Thordarson
Maria/Dull: McKenzie Gerber
Kate/Jaquenetta: Caitlin Aase
Boyet: Chris Aruffo
Don Armado: Liz Goodson
Costard: Alex Boroff

Theater Stuff

Motivation Is More Absent Than Veiled in 20%’s Anton in Show Business

Like Beckett or Pinter, Chekhov is a tricky business. Characters do not pursue their desires so overtly as in most musicals, nor do they describe their wants as articulately as in most Shakespearean plays; nor even, for that matter, are Chekhov translations as instantly relatable from the text as American classics like Williams or O’Neill (I can’t honestly speak to the original scripts). It is a common pitfall for actors and directors to orchestrate ennui and play mournful states of being, rather than create and display people of frustrated passion forced to reconcile their intense desires with a muddied reality. Unfortunately, 20% Theatre’s production of Jane Martin’s Anton in Show Business is a lesson in this very misfortune: uncertainty and representation trump desire and humanity.

Walking into Zoo Studios May 3rd excited me immediately. Ashley Ann Woods’ minimalist, functional set immediately evoked a rehearsal stage (a wall with an entrance, folding wings, and a couple of yet-to-be-seen flats, all bare bones). The two leads were periodically stretching and performing basic warmups onstage pre-show, and the “Stage Manager” (JaLinda Wilson) strolled about and called time wearing the typical trappings of the stage manager archetype: yet none of these seemed forced or obnoxiously thrown in our faces. The time-calls were legitimate time-calls, and the warmups could very well have been warming the actors up. Sadly, once the show started, all vestiges of sincerity and transparency evaporated.

Jane Martin is largely believed (but not proven, as far as I know) to be the female pen name of Jon Jory. Considering how many of her/his scripts deal superficially with gender and sex, and how many of them typically cast men as the clumsy, clueless stereotypes of 80’s and 90’s television, it would not be surprising to learn that Jory adopted the moniker to lend legitimacy to his cliche-ridden pablum. Regardless, Anton in Show Business is uninspired, (barely) clever-for-its-own-sake, and has little of value to offer. It’s a collection of overt and admitted stereotypes, starring the wide-eyed ingenue and the embittered over-the-hill actress as unlikely friends, cemented by the entitled-and-hedonistic-and-jaded-but-still-with-some-redeemable-qualities-but-still-superficial diva who secures their positions in a production of The Three Sisters. Their journey predictably parallels the play, and a host of other cliches-clad-as-characters help or hinder them through a meandering and largely disinterested quest to mount the famous play. Martin even goes so far as to write in an “audience member” who points out the cliches and helps highlight the similarities to the source material. Whether this is a clumsy apology or an obnoxious attempt to justify a pale imitation of the original is unclear. Maybe something has gone over my head, but I don’t doubt that 20% could find a local playwright more invested in both female-representation in theater (allegedly the point of the play) and more educated in Chekhov to produce an original local work of superior quality (the play’s opening monolog, saddest of all, glorifies New York while ignoring Chicago as an artistic non-entity).

But enough of Jane Martin. We’ve all seen terrible Shakespeare shows, and we’ve all seen awful scripts redeemed by committed performance or courageous staging. Unfortunately, the majority of the cast seems more invested in playing the ennui associated with shallow interpretations of Chekhov, free of motivation or interpersonal connection. Marla Jakob has a strong physical commitment to naive ingenue Lisabette Cartwright, and it’s certainly clear that she wants to do Chekhov (or at least that she wants to convince us that she wants to do Chekhov), but the rest of the cast seems to remain strangers to her, to whom she feels perpetually apologetic and little else. Lindsay Bartlett (as the over-the-hill Casey Mulgraw) excels at deadpan, but offers little else. When the script forces her to express anything, she vacillates between awkward uncertainty and regresses into understatement. Much like the painfully episodic script itself, Bartlett’s talents seem better suited to the screen.

The saving graces of this particular production were the strong physical characterization of Hallie Peterson and the motivated commitment of Rebecca Flores. Flores, who understudied as producer Kate Tdorovskia on May 3rd, put a mask of strained professionalism over a near-constant desire to nudge, prod, and occasionally shove her subordinates-on-paper in the right direction: her pressured restraint and impotent blustering both underscored the powerlessness of her position and provided a beautifully ironic archetype that would have been at home in any well-done Chekhov play. She was somewhat less nuanced and committed as Ben Shipwright, the all-American-country-singer-slash-actor, but it could be argued that Ben’s more limited vocal and physical range were meant to be archetypically male.

Hallie Peterson, meanwhile, is the reason to see this play. She first portrays an almost-irritatingly cliched ivory-tower-English-director, pixie-like in his airy presence and delighted with his superior and inscrutable understanding of the Magic of theater. This particular stereotype could easily have been unbearable, but in Peterson’s hands he was a refreshing change of pace from the awkward uncertainty of the rest of the cast. When this foppish Brit is regrettably dismissed, we are treated in his/her place with Konalvkis Wikewitch (thank you program), a wobbly septuagenarian who knows Chekhov because he (like the orchard of Chekhov’s most famous work) seems to be collapsing right in front of us, over and over again. Although many of Anton’s characters could be called cartoonish caricatures, only Peterson commits with full force and confidence to those cartoons. Despite this over-the-top drive, she still manages to deliver her deadpans with a professional glaze rivaling (and usually topping) anyone else onstage.

Anton in Show Business is a script with little to offer. Not surprisingly, the highlight comes at the very end when the three sisters-of-the-stage recite the closing lines to The Three Sisters: quality writing produces a moment of sincerity and introspection lacking from the rest of the play. The episodic nature and constant breaks that make it impossible to care about any character were perhaps intended as a Brechtian structure, but this play has no argument to make that hasn’t already been decided by its audience long before entering the space. And while even the worst scripts can be at least salvaged by quality acting, the amount of unmotivated floundering leaves me pointing an accusing finger at Melissa Albertario and Charlotte Drover, a pair of directors who don’t seem to have more than an academic understanding of Chekhov, and a shallow one at that.

And please don’t think that I could pass myself off as a Chekhov scholar. I do know good acting when I see it, though, and that comes almost entirely from Hallie Peterson and Rebecca Flores (who will be understudying other roles during the run, and will hopefully bring the same commitment to them as well). It would take a lot for me to tell someone “don’t see this play,” but this production offers little beyond lean academic reflection.

Anton in Show Business is playing at Zoo Studios (4001 N Ravenswood Ave, 2nd Floor) until May 18th.
Thursdays & Fridays @ 8:00
Saturdays @ 4:00 & 8:00
Sundays @ 2:00

Reviews, Theater Stuff

Double Down on Twelfth Night

I’m doing my second Twelfth Night of the year!

If you’re gonna be up Milwaukee-way in mid June through early August, give this’n a look-see:

You can sign up for auditions right here.

Play on!

Theater Stuff

Batter Me Bathory

We just finished the second (and presumably final) private reading of Countess Bathory. Some useful advice was given regarding drive and clarity, but I think what I was happiest to hear was that Bathory needs a closer relationship with her servants.

You see, once upon a time, there was another character in this play: a hunch-backed foundling boy over whom Bathory would fawn and make much: essentially a mixture of Feste and Richard III. But, time constraints being what they are, I had to cut him and divvy some of the more bon of his mots to other characters. What was completely lost though, was the Countess’ affection for this twisted creature, and the honesty he represented in the back-stabby world of courtly politics.

Fortunately, Bathory has other servants on whom she can fawn, with whom she can develop stronger relationships. This may mean trimming some of her soliloquies, and definitely trimming down the phallocentric Court scenes, but those are easy prices to pay.

And it looks like I might be able to put more of the Foundlings rockin’ quips into the hands of Kate and Helena Jo.

Thanks bunches to everyone for helping me write stuff!

Countess Bathory, Theater Stuff

Mercutio’s Autograph

R&J Banner Sample FB

 

I think I’m too vain to have ever been starstruck. I haven’t seen very many famous people, and I don’t suppose I’ve ever really tried to, but I’m pretty sure my intellectual vanity would have prevented me from freaking out.

I am however, feeling something very similar; something for which I cannot think of a more accurate word.

I’m working on Romeo & Juliet for the first time. For most theater kids, this is old hat by the time they finish high school, but (other than one bit of scene work in school) I’ve had very little to do with it. I’ve seen maybe three productions and one or two movies (Zeffirelli’s and probably some other one I can’t think of), and I’ve read it maybe twice. I don’t mean to humble brag: I know that might sound like a lot to some, but for an active member of a Shakespeare Company, that’s pretty limited involvement for what is probably his most popular play.

I am currently part of a staged reading of Romeo & Juliet taking place on Shakespeare’s traditional birthday (April 23rd, right at midnight of all things), and it’s the first time I’ve put any real focus into the play. My usual sneers at changes made from the First Folio to contemporary works are being challenged in more than one case (though FF punctuation remains, as ever, a great Actor’s Punctuation).

The old cliche about all the adults being more interesting than Romeo or Juliet certainly seems true (if only because the lovers’ lines are familiar to the point of banality). More than anything, I’m appreciating the opportunity for complexity of interpretation in the text. A simple incident ‘promoted’ me from the Prince (exactly where you’d expect to find me) to Capulet, which is very exciting.

I don’t yet know whom I’ll be playing in Unrehearsed Romeo & Juliet (coming soon), but I am equally excited to see where the Rules do to this play.

Random Stuff, Theater Stuff