Arthur Miller’s landmark play has gripped audiences for nearly 65 years, but couldn’t be more timely in today’s political environment. The McCarthy-era drama, set in Puritan Salem, paints a portrait of a paranoid, litigious society — power-hungry and gripped by misguided moralism.
The story focuses upon a young farmer, his wife, and a young servant-girl who maliciously causes the wife’s arrest for witchcraft. The farmer brings the girl to court to admit the lie—and it is here that the monstrous course of bigotry and deceit is terrifyingly depicted. The farmer, instead of saving his wife, finds himself also accused of witchcraft and ultimately condemned with a host of others.
Last fall I assumed the position of President of SRO Theatre Company, which has severely limited my ability to review local theatre (please hold the applause). I now receive many requests for information on local theatre, ranging from auditions, script submissions, unsolicited resumes – you name it. I have a list of website links on this blog to assist people in finding the answers to so many of these questions, but in this day and age it seems to “like” and “subscribe” to a company’s events on their Facebook page is the easiet and most efficient way of keeping on top of things. There are also several groups that are helpful to join as well, in addition to some performance and audition calendars.
Here I am posting links to many important resources; some are websites, but many more are Facebook pages or groups. This list is not complete (is any list ever?), and I aim to add to it in time. It doesn’t include the many fine high school theatre departments as I found that many either didn’t have websites and Facebook pages or that they weren’t always up-to-date. There is also no distinction between professional, semi-professional, and community theatre in this list. Still, this is a good starting point to add to your Facebook “likes” and bookmarks for the time being.
I believe that fans of theatre will see more theatre if they know of all the options available. I also don’t believe one theatre company has to do poorly for another to do well (I know several theatre companies appear to feel differently). Unless we are all doing the same shows at the same time, we aren’t in competition. At SRO, we now have a policy to display as many cards and flyers for other theatre companies as we receive at our performances. We don’t ask for or expect other companies to follow that practice; some are open to it while others are silent, and that’s fine. The bottom line is I want everyone to succeed and to help connect theatre with the community. While there may be individual people within certain organizations that I feel try to denigrate and dismiss other companies and their work, I find that, by and large, the artists, technicians, and audiences just want to come together and enjoy the experience of live performance.
Please help me add and correct this list by posting comments.
Until He Wasn’t concerns four strangers connected by one man: Colin Bayley. Colin is attentive, sexy, sensitive – the perfect guy to each of his former lovers commiserating about their time with him; that is, until he wasn’t. As the evening progresses, each member of the group divulges just how deep their connection to each other goes – all because of one man.
Is it worth seeing?
When I first entered the MadLab Theatre to see how the seating had been completely rearranged to present this show in the round, I knew Until He Wasn’t was going to be special. I didn’t plan on how involving the piece would ultimately be, as the writing by Patrick McLaughlin can be interpreted as either dramatic or cynically comical all depending on the way the audience chooses to interpret it; there were many moments were certain groups would laugh at a particular moment whereas other parts of the audience were solemnly quiet. The set pieces are minimal and never in danger of blocking any of the action, and director Audrey Rush takes care to spread the action out so there doesn’t appear to be a bad vantage point.
This is one hell of a cast working through some rough material, and it’s quickly apparent that this is not their first time at the rodeo. Laura Spires could be whiny as Raya, the wife who was married to Colin for years, but she isn’t; Ms. Spires isn’t keen on hearing of his infidelities, and so she comes off as naturally defensive of what she believes were those special years before the trouble started. Kasey Meininger makes Natalie, Colin’s lover while still married to Raya, quite aggressive, exhibiting a natural inclination towards physicality that fits the role and the actor playing it; a semi-dream sequence in the second act requires Ms. Meininger to fling herself around in a way that would send most of us to the chiropractor, but she manages it all in stride.
Jenn Feather Youngblood as Tenille at first glance might seem like the stereotypical “sexless, quirky best friend of the lead who never gets the guy,” but she is so much more than that. At times able to connect with a beat that jolts the audience with laughter and at other times uncomfortably vulnerable, Ms. Youngblood is able to turn the perceived stereotype on its head, showing more than anything that we all seek love and acceptance and don’t necessarily question it when it comes in an unbelievably attractive package. Will Macke’s Gavin definitely stands out in the otherwise female group, his swagger and sexual innuendos definitely meant to shock and disarm; still, Mr. Macke has a way of letting the audience in to look past his brusque facade, most shockingly during an intense sequence in the second act.
It takes a special actor to be able to generate chemistry with four very different people in the same play, and Rob Philpott is just such a special talent. As Colin, Mr. Philpott is disarmingly suave and appealing, but he performs at a much higher level than one might expect from what seems like a typical pretty-boy role. His Colin says the right things at the right time, and the heat he generates with each of his on-stage lovers (no matter the gender) is electric and dangerous. Without a special person for each of the four main characters to pine for, Until He Wasn’t wouldn’t work; with Mr. Philpott as Colin, it works so well that I bet it could make members of the audience wonder if they might also be taken in under his spell if they encountered him in the same circumstances as did Raya, Natalie, Tenille, and Gavin.
Until He Wasn’t is one of those two-act plays where the first act ends with a big revelation, one that I didn’t see coming. This big moment lays the groundwork for the second act, as thrilling and tense as anything I’ve seen in years. At the end of this two and a half hour journey, I was exhausted yet exhilarated by the ride. Highly recommended!
It’s 1965, and stage and screen star Tallulah Bankhead has seen better days. Suffering the ill-effects of a lifetime of boozing and doping, she is called in to re-record (or “loop”) one line for what would be her final film, Die! Die! My Darling! Based on a true event, Ms. Bankhead makes sure to put the sound engineer and film editor through the ringer before they get what they want out of her, playing up to their expectations of what a quarrelsome and demanding woman she can be. Looped enjoyed a brief run on Broadway in the spring of 2010, garnering Valerie Harper a Tony Award nomination as the beleaguered Tallulah Bankhead.
Is it worth seeing?
Looped is the kind of play where the concept is much better than its execution. Who wouldn’t enjoy seeing a comedic piece about a loud-mouthed lush, a star of both stage and screen, showing off her bad behavior? There are plenty of zingers to be had in Matthew Lombardo’s script, but at nearly two hours with an intermission (placed at a particularly contrived moment within the play), there doesn’t seem to be enough there to justify that much of an investment. However, Looped is that rare play that improves greatly in its second half, even if it gets rather maudlin and embarrassingly overwrought dealing with a discussion of homosexuality in the era. Mixing comedy with drama is tricky, but luckily the moments where the balance is completely off are brief and don’t sink the show. This is far from a great work, but, with the right crowd and performers, it’s more good than bad.
Vicky Welsh Bragg makes a fine Tallulah Bankhead, sounding a great deal like the actress, speaking in a low register that must be a challenge. Ms. Bragg is engaging if less biting that one might expect playing a drug-addicted alcoholic, but she is consistently interesting to watch and embodies the proper spirit to make her part work. Jon Osbeck as Danny Miller, the put-upon film editor struggling to corral Ms. Bankhead, performs as beyond irritated from the get-go, not allowing much room to grow all that much more frustrated with Ms. Bankhead’s shenanigans without yelling expletives that I doubt any studio employee would use towards a star, even a drunken one. Part of the problem is in the writing, but Mr. Osbeck is to blame for his entirely false crying scene near the end of the second act. It often feels like Mr. Osbeck thinks that he is part of a duet when it is quite clear that Ms. Bragg and her character is the star here.
Technically, the show is quite impressive, with a detailed black, white, and gray set by Jeffrey Gress complete with a boom mike that looks right out of that era. Nitz Brown’s lighting is detailed down to the ever-so-slight reflection of the film being projected (which we don’t see) for Ms. Bankhead to use as a reference for her vocal performance. Rebecca Baygents Turk’s costumes, from Ms. Bankhead’s improbable red gown (looking much like Bette Davis’s frock in All About Eve) to Danny Miller’s high-waisted slacks and slick shoes impressively represent a 1965 as one might imagine it from seeing sitcoms of the era; too perfect to be real, but too defined and attractive to ignore.
Ultimately, Looped misses its target, but not by as much as it could’ve had Evolution’s production not had such a proficient design team and game cast. At its best moments, when Ms. Bragg’s lines elicit honest laughter and Mr. Osbeck‘s exasperated look relaxes a bit in intensity, the production is quite enjoyable, though it takes someone with an appreciation of the era, film making, and that special kind of smoky female brashness to hang on through the more awkwardly written moments (like the ending that feels right out of Casablanca). Note to other playwrights: exercise caution when including excerpts from vastly superior works (in this case, Tennessee Williams’ A Streetcar Named Desire) into your script.
My rating: ** 3/4 out of ****
Looped continues through to September 24th in the Van Fleet Theatre within the Columbus Performing Arts Center at 549 Franklin Avenue, and more information can be found at http://evolutiontheatre.org
It’s funny how some plays can become such a part of popular culture that they can feel like you’ve seen them before even if you haven’t. The Fantasticks, the long-running 1960 Tom Jones-Harvey Schmidt musical about two neighboring fathers pretending to feud in the hope that their children will rebel and fall in love, is one of those evergreens, a musical that is akin to a rite of passage as each new generation discovers and embraces its charms. The Fantasticks isn’t a great work, but its memorable score, including such standards as “Try to Remember,” “Much More,” and “Soon It’s Gonna Rain,” has done much to solidify its reputation.
Now Short North Stage presents their version of The Fantasticks, only this time director Jonathan Flom has changed its setting and locale to Oklahoma circa April 1935 during The Great Depression, more specially after a great dust storm that has left much death and destruction in its wake. Not a word or song has been changed to accommodate this interpretation, and yet what emerges in this production injects new life and relevance in the all-too-familiar story of boy meets girl/boy loses girl/boy gets girl back. Mr. Flom’s production, with a sprawling set by Jonathan Sabo complete with mounds of dirt and partially buried farm paraphernalia, is presented in the round with limited seating around the perimeter of a raised wooden platform (the room’s support beam is cleverly dressed to appear like a tower); the overall effect is one of inclusion, like the audience is a part of the action.
The cast is uniformly excellent, exuding a kind of familial affection for one another that permeates past their roles. Brian Hupp makes an oddly dangerous and elusive El Gallo, a fresh take on this character all dressed in black; Robert Carlton Stimmel plays Matt with energy to spare, and Emma Coniglio has a way of playing a bit spoiled as Luisa that isn’t cloying; Doug Joseph and Ryan Stem, as the fathers of Matt and Louisa respectively, should be listened to carefully for their humorous ad libbing as they bicker with each other in the way that only great friends can do; Mr. Joseph and Mr. Stem both have a way of embodying the spirit of both mother and father that makes their investment in the future of their children all the more significant.
Though her stage time is brief, Alex Lanier makes a dizzyingly bombastic Henry, the old actor who helps to stage an attempted abduction of Louisa to help Matt appear to be a hero; Kate Lingnofski as Mortimer, Henry’s sidekick, has a staunch posture and walk that is highly individual and comedic; her goggles, cap, and scarves conjure images of a Chaplinesque Amelia Earhart. Megan Valle plays The Mute, and she is also responsible for the choreography that feels so organic that it can be difficult to tell when it starts and ends; Ms. Valle acts silently with an expression that looks as if she’s on the cusp of saying something quite profound, the story of Matt and Luisa’s courtship playing out in front of her being the one respite from the world around her.
Short North Stage’s The Fantasticks has a wistful, dreamlike quality to it, almost like recalling a memory through a haze of sheer muslin. All of the familiar songs and characters are there, but this telling has more of an urgency and relevance to it; the love and joy of the young lovers is more poignant with The Great Depression as a backdrop. This reimagining doesn’t feel forced or heavy-handed at all, and the simplicity of the story has never felt more welcome a luxury. Aside from the intimacy of experiencing this production in the round, there is an added benefit; many times I caught myself glancing at the smiling faces of other audience members on the opposite side of the performing space. I’m sure I sported an incongruous smile as well since the sweetness and hopefulness of this production is infectious. “Aren’t you glad we came out tonight?” I heard a lady ask her friends as we all exited the theatre after the play. Everyone agreed that seeing this production of The Fantasticks was time well-spent.
**** out of ****
The Fantasticks continues through to August 14th in The Green Room at The Garden Theatre located at 1187 North High Street in downtown Columbus, and more information can be found at http://www.shortnorthstage.org/calendar/v/471
How lucky am I to be able to see full productions of the two biggest Broadway hits of the 1957-1958 season all in the same week? One night I get to see The Music Man at Weathervane Playhouse in Newark, and the next night I’m enjoying Columbus Children’s Theatre’s West Side Story! Both are now revered as classics, were made into very popular and faithfully adapted films, and for well over fifty years have been performed thousands of times a year all over the country from high schools to regional theatres. One can’t really be considered a fan of musicals without becoming acquainted with these evergreens; their songs pop up all the time in popular culture, and chances are you’ve heard some of them even if you didn’t know from where they originated.
Meredith Willson’s The Music Man was the big Tony Award winner in 1958 and the longer-running hit, but West Side Story, with a searing Leonard Bernstein score, lyrics by the up-and-coming Stephen Sondheim, book by Arthur Laurents, and choreography courtesy of the legendary Jerome Robbins, has emerged as the more serious classic. Inspired by Shakespeare’s Romeo and Juliet, the action has been transplanted to the Upper West Side of New York City in the 1950s as rival gangs, the Jets (who are white) and the Sharks (who are Puerto Rican), fight for dominance. Caught in the crosshairs are Tony, a sometime member of the Jets, and Maria, the sister of the leader of the Sharks, Bernardo. Tony and Maria meet at a school dance, fall in love, and try to stop the gangs from fighting to discover things will only get worse before they begin to get better. With nearly every now song an established classic (“Maria,” “Tonight,” “Somewhere,” “I Feel Pretty,” and “America” to name but a few), West Side Story continues to capture the heart of each new generation, thanks to the 1961 film and the play’s continued popularity. This current production, featuring Columbus Children’s Theatre’s Summer Pre-Professional Company of performers ages sixteen to twenty-two, is about as engaging and rousing a production as one is likely to find, “pre-professional” or not.
These Jets and Sharks dance, fight, and spit with equal intensity (stage combat aided by William Goldsmith), and each performer appears fully cocked and ready to attack anyone who gets in their way. I remember some snickering from my classmates when we watched the movie in high school during the opening dance sequence; no one would dare to scoff at these Jets and Sharks, especially once they see them believably kick and punch each other to the ground! It’s interesting to note that all but two of the Jets and Sharks are wearing identical black Converse Chuck Taylor All Star shoes, a nice visual reminder that they have so much more in common than they seem to realize.
As sweet and innocent as Tony (Andy Simmons) and Maria (Elizabeth Blanquera) are in this production, they can’t help but appear less exciting when stacked next to the excellent supporting cast: Austin Ryan Backus as Riff exudes confidence and swagger; Matthew J. Mayer II makes an intense Bernardo; Odette Gutierrez del Arroyo is a firecracker as Anita but also heartbreaking; Will Thompson plays Doc like a wise, concerned older brother, making an impact in a part usually ignored; and Charlotte Brown should be watched closely in the small role of Rosalia, especially for her hilarious facial expressions during the dance at the gym.
The only serious flaw in this production occurs during the ballet (which is not in the film). This ballet leads into “Somewhere” and begins strongly with Riff and Bernardo reappearing after the violent end of the first act; then, inexplicably, a little boy climbs out of Maria’s bedroom window, down over the fence, sings “Somewhere” at Tony and Maria (now dressed in just a slip), and then scampers back up to from where he came. Though staged a bit differently, this addition of the character “Kiddo” and reassignment of the song was made by original book writer Arthur Laurents for the 2009 Broadway revival he directed; it was widely criticized then, and it’s inclusion in this production is a glaring sore spot. It has nothing to do with the ability of the kid playing Kiddo; the moment comes off as schmaltzy and like a lecture to the characters, bringing to mind this verse in Isaiah: “And a little child shall lead them.” I began to wonder why a little kid was squatting in Maria’s bedroom and if someone should let her know.
Luckily everything gets back on track when some of the Jets sing “Gee, Officer Krumpke,” far funnier with lyrics and gestures that were greatly toned down for the film. This is one of several scenes in which Jordan Feliciano as Baby John is a riot, donning a mop on his head and squeaky voice. As humorous as this sequence is, Ms. Gutierrez del Arroyo’s “A Boy Like That” that follows it is conversely serious and impassioned. Songs were moved around for the film to provide a more consistent tone for that medium, but the flow of the original play works marvelously on the stage.
Director David Bahgat incorporates many design elements from the film (unavoidable with its popularity) and expands upon them, the Jets costumed in blue and yellow and the Sharks in purple and red; the lighting is also used in this color motif effectively without being too obvious. Mr. Bahgat keeps everything moving at a brisk pace (save for the aforementioned break in the ballet), and he guides his cast into making each line sound like it is theirs and theirs alone. I’ve seen several productions were the actors copy each line reading as it was done in the film; that isn’t the case here at all, and many times so much more humor and character comes across because of it. He keeps his actors moving all around the audience, maintaining an immediacy that a lesser director wouldn’t bother trying to create. The marvelous set designed by Jeffrey Gress represents all of the different locations needed for the story, elements of which extend out around the audience, making this what I would consider an environmental staging; a low chain link fence separates the audience from the cast on the left and right sides, Doc’s storefront is between the center and right seating areas, actors often enter the center rows of the audience and sit alongside them, and (depending on where one is sitting) Chino (Frank Ruiz) can be seen stealthily sneaking down the alley between the center and left section of seats leading up to the intense climax.
The four-piece band led by Zac DelMonte kicks into high gear during the “Tonight” quintet and rumble, though the limited orchestration takes a little time to get used to at the start of the show. Nicolette Montana does a fine job of recreating iconic moments from Jerome Robbins’ original choreography, adding and changing bits here and there to suit the space and production demands; aside from a moment during the prologue when the Jets shout “Ha!” and jut their hands out into the audience, Ms. Montana’s work is commendable and adds so much to this overall splendid production.
Except for a few missteps (mostly minor), Columbus Children’s Theatre’s West Side Story is nearly impossibly good. With action occurring from all sides of the theatre and an energetic cast that knows this show like seasoned pros, this West Side Story is one to see no matter how many times you’ve seen the play or movie before. Most of the performers appear to be exactly in the right age range of the characters they are playing, from late teens to early twenties, but this is the exception rather than the rule when compared to the film or Broadway productions of this show. The “us verses them” struggle between the Jets and the Sharks is still relevant today; one need only to watch the daily news to see how fear of the “other” continues to incite violence and be used politically to pit people against one another.
“Evil deeds cost the doers in the end,” says the bitter and jealous Fernanda Mondego just before she finalizes plans to basically destroy the life of Amelie Dantes. Little does Fernanda know how prophetic her words would be, as the wronged Amelie Dantes will one day return with power and vengeance on her mind as The Countess of Monte Cristo, the Actors’ Theatre of Columbus production currently being performed in Schiller Park. Based on the Alexander Dumas classic The Count of Monte Cristo, this adaptation by artistic director Philip J. Hickman and co-director Jennifer Feather Youngblood reimagines the story with a woman as the lead, shifting the locus of power within the story from male to female, presenting a different portrait of what female revenge can look like to those of us familiar with it only from Stephen King’s Carrie.
Amelie Dantes has her world turned upside down when she is imprisoned for a crime she didn’t commit through the efforts of Danglars, an envious captain; the aforementioned Fernanda Mondego, a bartender with her eyes set on nabbing Merced Herrera, Amelie’s fiancée; and Villefort, a Magistrate with family secrets to hide. Each has something to gain by getting Amelie out of the picture, but they don’t count on her meeting and being tutored by Abbess Faria in prison, escaping her life sentence after fourteen years, or claiming a hidden fortune; this enables her to return with the wealth and influence necessary to exact veiled revenge on each of them.
I was completely unfamiliar with the plot of The Count of Monte Cristo before seeing this production, which was both a blessing and a curse. The story was new and fresh to me as a result, but it was also quite difficult to follow at points. The summary I’ve presented here doesn’t go into the pirates, kidnapping, the involvement of the daughters of the Countess’s enemies, the cargo ship business, and several incriminating letters that fall into the wrong hands. The intricacies of the story may not be completely clear (I thought of the business with the letters as simply a MacGuffin, a trigger for the plot), but the overall theme of female empowerment and growth is very much in evidence. It is clear that Amelie’s enemies don’t recognize her upon her return, and it is indeed interesting to see how the Countess infiltrates their lives to bring about their ruin.
It must be a special kind of challenge to perform outdoors with unpredictable weather and technical aberrations (one performance I attended was plagued with intermittent static) and still find a way to tell the story. This talented cast manages to perform grandly to reach an audience spread out over the park on lawn chairs and blankets without appearing to be yelling or overacting, no small feat considering this material or venue. Standouts in the cast are McLane Nagy as Amelie Dantes, the Countess of Monte Cristo; Kasey Leah Meininger as the conniving Fernanda Mondego; James Harper as Merced Herrera, Amelie’s handsome but doomed former fiancée; Derek Faraji as Ali, Amelie’s faithful companion; and Catherine Cryan as both the nurturing Abbess Faria and the caustic Madame Villefort (wife of one of Amelie’s enemies).
Ms. Nagy is sweet and unassuming as Amelie, plaintively stating, “I am a woman. I wouldn’t presume to concern myself with matters of state,” during her interrogation; her metamorphoses into the formidable Countess is complete when she wails, “I die, and all forgiveness with me!” Ms. Nagy brings an athletic agility necessary for us to believe in her journey, and yet her heart isn’t frozen; “I would never wish to instill vengeance in your heart,” she says to a daughter of one of her enemies, her delivery making clear the burden that kind of anger can have on a person.
Ms. Meininger’s Fernanda is boldly conniving, forcing Amelie out of the picture to claim Merced for herself. The way that she embraces Merced from behind as she coos to manipulate him into framing his fiancée demonstrates that she will stop at nothing to get what she wants, making her ultimate comeuppance all the more enjoyable to witness. Ms. Meininger has a bigger than life performance style uniquely suited to playing such a heartless villain the audience loves to hate.
Mr. Harper’s Merced is powerless to resist Fernanda, but his internal agony at having played a part in Amelie’s imprisonment shows in his posture and movement when he returns to the story. Mr. Harper can play conquered without appearing weak or simple, turning his anguish inward at himself; as such, he comes off as the only one of Amelie’s enemies with any kind of conscience. His breakdown when the Countess reveals herself to be Amelie is devastatingly intense, his actions those of a tortured soul.
Mr. Faraji as Ali submits to the Countess’s wishes and yet is not a subservient person; he chooses to do her bidding instead of coming off as obligated. It’s clear from Mr. Faraji’s gaze this his character’s respect for his mistress blossoms into love as he assists in her quest. Ali emerges as the kind of ally we should all be so lucky to have, his interactions with the Countess revealing a genuine affection for her and her plight; he was also wronged in his past when he was sold by Merced, so helping her enact revenge supports his motive as well.
Ms. Cryan makes the most out of playing Abbess Faria, the knowledgable tutor who becomes a surrogate mother to Amelie in prison. She is able to convey a maternal warmth that is welcoming while still being a force to reckon with; she teaches Amelie how to fence and quizzes her on Latin because these are the only gifts she has to give while they are both imprisoned. Ms. Cryan and Ms. Nagy are able to share moments together on stage that feel intimate and quite personal even across an audience spread about on the grass. Ms. Cryan’s touching performance as Abbess Faria is nearly matched when she reappears as Madame Villefort, a woman so morally bankrupt that the idea of poisoning her family in the pursuit of wealth and power seems like a good idea. Her Madame Villefort sinks to depths that are startling in their disregard for human life, and the audience reacts with glee when her husband Gerard Villefort (played menacingly by her real-life husband, Ken Erney) turns on her in the end.
It’s nice to see smaller character parts imbued with the kind of life that Elizabeth Harelick, Michael Carozza, and Cat McAlpine bring to them, demonstrating that there are no small parts, just small actors. Ms. Harelick is giddy with madness as de Bouville, the mistress of a prison; Mr. Carozza brings wide-eyed comedy to the fore as Peppino, a thickly-accented member of the Countess’s gang; and Ms. McAlpine uses her substantial height and imposing presence as both Marie and Pastrini, and then switches things up again as Louise, an unexpected romantic interest for Eugenie Danglars (Maggie Turek).
Directors Adam Simon and Jennifer Feather Youngblood have their work cut out for them with a plot of this complexity and size. The show is a bit rocky at first, opening with a pantomimed scene in a bar with music in the background, all of it going on far too long before we get to some substantial dialogue. Too many scenes end awkwardly, with a lull before the next scene begins. When this break is to denote a passage of time it’s understandable, but too often it just slows down the action. The three daughters of Amelie’s enemies (Mary Paige Rieffel as Alberta Herrera, Myia Eren as Valentine Villefort, and Maggie Turek as Eugenie Danglars) are also presented in a manner conducive to generating confusion, each with brown hair styled up and similar costume coloring. This isn’t so much a problem up close, but much of the audience is spread far out from the stage where the similarities between their appearance is amplified. The personalities of the characters are all quite different, but more care should be taken to help them stand apart as it just adds confusion to an already densely plotted story.
I find it odd that as Amelie gains power and wealth that she becomes more masculine in appearance. She begins as a pretty young bride on her wedding day, is reduced to rags while in prison, reappears as the Countess in an Arabian-inspired hooded cloak covering what looks like lounging pajamas, and at last has her hair pinned back and is dressing in a suit like a man. This conceit reminds me of a moment in the film Tootsie where Dustin Hoffman as Dorothy Michaels first appears to audition for a strong female role in a soap opera and is rebuffed as being “too soft and genteel” by the director. “You want some gross caricature of a woman to prove some idiotic point that power makes women masculine or masculine women are ugly,” Mr. Hoffman says as Ms. Michaels, wagging a finger with, “Well shame on the woman who lets you do that or any woman that lets you do that!” It’s this stereotype that I feel is being perpetuated in the visual transformation of Amelie’s character in this piece. Why couldn’t she have grown more glamorous and beautifully stylish as each bit of retribution is delivered, showing how power and strength can also still be incredibly feminine and alluring? Images of dangerous but strong women from old ’40s noir films come to mind when I think of the ways Amelie as the Countess is able to manipulate events in her favor once she returns to her old stomping ground, except she doesn’t rely on sex to do it (another stereotype). The costumes that Ms. Nagy wears as the Countess are often quite ornate and attractive; I just don’t agree with the way femininity is drained from her appearance as her strength increases.
Despite some storytelling and design shortcomings, The Countess of Monte Cristo is a lively production that only improves as it continues to play out. Some familiarity with the plot of the original story might help those who might otherwise stumble to connect all of the plot threads (I saw it twice and still didn’t catch everything); still, there is enough action, drama, and raw emotion on display to keep a crowd of hundreds focused on the stage. This is the kind of show that is worth seeing for its cast, a veritable “who’s who” of some of the best actors in Columbus. These performers work together to create an experience that is more than the sum of its parts, and Actors’ Theatre of Columbus is to be commended on tackling such a complicated tale with this fresh reworking that emerges as a real crowd pleaser.
“The sooner you understand it ain’t what you say, or what Mr. Irvin say… It’s what Ma say that counts,” says Cutler, who plays guitar and trombone and is the unofficial leader of the band. The Ma he is referring to is Ma Rainey, and the argument is over which version of a song she will sing in August Wilson’s seminal Ma Rainey’s Black Bottom, currently being presented by Short North Stage as part of a year-long festival of Mr. Wilson’s works.
Of course, the play isn’t really about music – it’s about power, and in a time and place like Chicago in 1927, being black and female would normally place one near the bottom rung in the pecking order of the day. Ma Rainey is no ordinary woman though, and she knows that she has something that Irvin, her white manager, and Sturdyvant, her white record producer, want desperately, but she’s going to make them work for it. Ma Rainey’s Black Bottom is about the rehearsal and recording session for the song of that same name; her trumpet player, Levee, has written a new arrangement for the song, but Ma Rainey is not a woman who is about to do anything she doesn’t want to do, and that includes doing a favor for the pushy Levee. The rest of her band is ready to follow her lead, but Levee feels that siding with Irvin and Sturdyvant against Ma will put him in their good graces, enabling him to embark on a career of his own.
“They don’t care nothing about me,” Ma confides to Cutler. “All they want is my voice. As soon as they get my voice down on them recording machines, then it’s just like if I’d be some whore and they roll over and put their pants on.” Ma knows that she holds all the cards but that her power is transient; when all is said and done, she’ll be dismissed until she is needed again. This is why Ma Rainey has demands she makes sure are met; it’s not just for her, but for all of the people who don’t have a voice to command the same kind of respect for themselves. In the same position, wouldn’t we all play up the opportunity to throw our weight around before the clock strikes twelve and the coach turns back into a pumpkin again?
“As long as the colored man look to white folks to put the crown on what he say… As long as he looks to white folks for approval… Then he ain’t never gonna find out who he is and what he’s about. He’s just gonna be about what the white folks want him to be about,” Toledo, Ma’s piano player, wisely tries to explain to the hot-headed and ambitious Levee, though it’s a lesson Levee must learn the hard way. This is a time when segregation is still strictly enforced, and even up north, where the social situation is far more open, black people are still regarded with skepticism and a side eye. It’s enough to make anyone restless and frustrated, something with which
people who have been subjugated be it for their color or sexuality or some other reason can surely relate; remove “colored” and “white” from Toledo’s advice and it still rings true. This might be a “black play,” but its story about the disenfranchised and repressed is universal. The characters live in a time when racism is pervasive in a way that could make many complacent – but not Ma Rainey or Levee, one fighting quality which they both share.
So much of the play is spent with Ma’s band as they discuss and argue about life, all the while waiting for Ma to make her appearance and then be ready to record. The band members discuss women, money, philosophy, and even their ancestors in Africa; their conversation flows so naturally (a credit to Mr. Wilson’s genius) that it isn’t immediately apparent the relevance it will all have in the play. It’s during all of this that the audience gets to know and care for the characters as real people; we all become invested in how the session is going to play out because we get to know these people and how they think. This makes the startling finale all the more heartbreaking, a perfect demonstration of the misguided aggression that can result from broken promises and shattered dreams.
As directed by Mark Clayton Southers, Ma Rainey’s Black Bottom is a tight drama with enough genuine laughs and tense moments to feel thrillingly real. Mr. Southers doesn’t allow any of August Wilson’s spry dialogue to be tossed about or sped past; everyone in the cast gives the appearance of being united to tell this story without sounding too precious or studied. It’s a landmark work, but this fine cast thankfully doesn’t tiptoe around the material; many of the characters aren’t exactly endearing or likeable, but that’s completely beside the point.
Standouts in the cast are Wilma Hatton as the persnickety but in demand Ma Rainey; Chuck Timbers as Cutler, the voice of reason in the band; Will Williams as Toledo, the pianist who knows a little bit about most everything; Taylor Martin Moss as Sylvester, Ma’s stuttering nephew; and Ryan Kopycinski as the policeman who just can’t quite believe Ma Rainey could own a car or is as important as she claims.
The real treasure though is to be found in Bryant Bentley’s performance as Levee, the bullish trumpet player who is as uneducated as he is blindly ambitious. Mr. Bentley takes a character who often rubs people the wrong way and makes him unexpectedly sympathetic; we understand why he is the way he is, and we want him to find some measure of success because we can see that he wants it so badly he can taste it. Levee’s disillusionment is felt by the audience all because of Mr. Bentley’s commitment and instinctual quickness; his performance rises to be the equal of this material, a daunting feat indeed.
One could quibble about the prerecorded music and the fake playing of the instruments being handled in a way that is less than optimal, but Short North Stage’s production of Ma Rainey’s Black Bottom is so alive and otherwise involving that it is futile to deny its charms and power. This is the second work of August Wilson I’ve been fortunate enough to experience this year. Mr. Wilson is hailed as one of America’s foremost black playwrights, though I think the qualifier is unnecessary; August Wilson is one of America’s foremost playwrights, period, and his Ma Rainey’s Black Bottom is not to be missed.
**** out of ****
Ma Rainey’s Black Bottom continues through to June 19th in The Green Room at The Garden Theatre located at 1187 North High Street in downtown Columbus, and more information can be found at http://www.shortnorthstage.org/calendar/v/536