“A Number” and “Far Away” at the Gamm Theatre

by Richard Pacheco

            The Gamm Theatre opens its 29^th season with two one act plays by acclaimed English playwright, Caryl Churchill and the results are mixed. While “A Number’ is by far the most successful of the two, “Far Away,” devolves into silliness and self indulgence losing any impact it might have had.

Churchill wrote her first play in 1972, she wrote “Owners”, a two-act, 14-scene play about obsession with power. It was her first stage play and "her first major theatrical endeavor"; it was produced in London the same year. Churchill's socialist views are expressed in the play, a critique of the values that most capitalists take for granted: being aggressive, getting ahead, doing well.

Her first play to receive wide notice was “Cloud Nine“ (1979), "a farce about sexual politics", set partly in a British overseas colony during the Victorian era. It explores the effects of the colonialist/imperialist mindset on intimate personal relationships, and uses cross-gender casting for comic and instructive effect. The play became successful in Britain and in the United States, winning an Obie Award in 1982 for best play of the year in New York. She is also well known for her play “Top Girls” which deals with women’s losing their humanity in order to attain power in a male-dominated environment.

         

   “A Number” was written when cloning was often in the news. Dolly the sheep, creation of human embryos at Advanced Cell Technology in the US, and the cloning of a kitten gave rise to controversy concerning possible human cloning.

The play begins with a father, Salter, and his son Bernard discussing the fact that the son has found out that he has been cloned. The father claims not to have known this and claims that a hospital must have stolen his cells at some point and made illegal copies of him. He talks about suing the hospital for money, a lot of money. The son then mentions that there were others and the father admits that the son is a clone. He says that the original son and his mother died in a car crash and that he wanted his son back so he had him cloned. After all Bernard’ uniqueness has been damaged by the unauthorized cloning. Eventually Salter reveals how so many Bernards came into the world after lying.

Artistic director Tony Estrella is deft and acute as Bernard, managing a variety of different gestures and character traits as well as costume changes for each of the different Bernards. It is a skilled performance that is very impressive.

Jim O’Brien is his father, Salter. O’Brien does a wonderful job as the man caught up in guilt over his past decisions and troubled over the current results.

It is directed by Judith Swift with dexterity and flair.

However the play falls a bit flat with the climax faltering, almost cast aside.

“Far Away,” directed by Estrella starts off very promising and falls apart at the end into silliness and self indulgence. It opens with a sense of menace and fear at the Harper house where a young Joan awakens to a nightmare which turns out to be real and true of beatings, blood and pain galore.  It is grim and darkly disturbing. Then we proceed to a scene years later where Joan is grown and

she creates hats for parades of prisoners who are executed. The winning hats go into a museum while the others are buried with the prisoners. Joan develops a relationship with a man who works there, Todd, who is concerned about the corruption in the factory and low wages. This too is disturbing. In this world plants, animals and humans battle each other with shifting allegiances and loyalties.

But it all falls apart in the final scene back at the Harper house where it takes a turn for the silly and the self indulgent. It loses all impact there and becomes ridiculous when there are comments like “The mallards are on the side of the elephants and the Koreans" or “The elephants end up going over to the Dutch, and the Latvians are sending pigs to Sweden.” Get over it already. Enough.

The acting however is excellent which only makes the ridiculousness of the play more obvious. Lauren Durkin is fetching as young Joan, innocent, wide eyed, caught up in a nightmare that turns out to be real. It is a delightful performance, full of verve and nuance.

Casey Seymour Kim is her aunt Harper, who deftly manages to invent new stories every time young Joan comes up with some new twist to her disturbing nightmare.. She is fast and furious in her denials of wrongdoing on the part of Joan’s uncle. Kim is terrific, ably jumping between explanations with skill and finesse, full of sincerity. When the play turns silly at the end however it makes her acting seem false, but it is the material.

Marianna Bassham is the adult Joan. She is a talented hat maker full of dedication and passion for her work. She is a bit naïve about the business she is in and finds herself attracted to her more experienced co worker, Todd. It is a smooth and polished performance, full of nuances.

Alexander Platt is Todd, a man who is disenchanted with the working conditions of his industry and the corruption he sees and wants to speak out against it, take a stand. He is determined and attracted to Joan, does what he can to get closer to her. Platt is solid in the role, full of polish and conviction, sincere all the way through.

Director Estrella does the best he can with the play, which is the main obstacle here. His actors work well together when the play gives them something to work with.

The set by Michael McGarty is clever and sparse, but very effective, able to shift to the plays demand with relative ease. The millinery design by David T. Howard is stunning and highly effective.  The Amanda Dowling Carney costumes are effective.

It continues until October 13^th. Tickets are $36 and $45, depending on the day and time. For tickets, call the box office at 401-723-4266 or gammtheatre.org

“Lobby Hero” at 2nd Story DownStage

by Richard Pacheco

            2^nd Story Theatre opens its new DownStage Theatre with Kenneth Lonegran’s “Lobby Hero” a play that mixes the funny and the serious and is sparked by a wonderful cast which gives it energy and flair. It is a mixture of serous social issues with loads of humor. It is the tale of a hapless security guard in a Manhattan high rise apartment who gets caught in the struggle between his boss and two police officers investigating a local murder which his boss’s brother might have been involved in.
           “Lobby Hero” was first performed at the Playwrights Horizons, on March 13, 2001. It later had a UK premiere staged at the Donmar Warehouse between April 4 (opening April 10) and May 4, 2002. Lonergan began writing in high school at the Walden School (a now defunct private school in Manhattan with a strong drama program). Lonegran’s first play, “The Rennings Children,” was chosen for the Young Playwright's Festival in 1982 while he was still an undergraduate. Lonergan matriculated at Wesleyan University where he trained as a playwright and director; he would go on to graduate at the NYU Playwriting Program.
            Lonergan's film career began with his screenplay for the gangland comedy “Analyze This” (1999). He was subsequently offered a job writing “The Adventures of Rocky and Bullwinkle” (2000).. Lonergan directed his own screenplay for “You Can Count on Me” (2000); the film, which was executive produced by Martin Scorsese, went on to be nominated for and receive numerous writing awards; he went on to contribute to the screenplay for “Gangs of New York” (2002).
            Jeff is the luckless security guard living under the large shadow of his father’s heroism, saving 23 men from s sinking ship. The images haunts Jeff, making his life unbearable with all that courage to face when he grows up with increasing resentment and a desire to get out from under that and leave his own mark on the world. He wants to do the right thing and have others respect him.

Jeff Church is wonderful as Jeff. He has a wide rang of facial expressions and gestures, movements, that are comic gold and sheet fun. He ably captures his character’s angst and struggles with comic aplomb.

Marlon Carey is William, Jeff’s boss. He is the captain of the security company and has been working for security companies since he was 16.  He works had and takes the worse possible shifts and turns them into opportunities for him. He is big on ambition, not just in himself, but in recognizing the potential in others like Jeff. He can be self righteous and a bit pompous and pontificating at times. He views himself as a honest fellow, a straight as they fly kind guy. All this is put on the line when his brother asks him to lie for him to cover up his part in a brutal murder.

Carey is delightful as William. He is brusque and rigid where needs be and more encouraging as required. It’s a winning performance and a great foil for Jeff and the interchange between the two is terrific.

Then there is Bill, an experienced cop on the way up, awaiting his detective’s badge. Yet he is more than a bit sleazy, particularly when it comes to women. He is ambitious but his attitude is you do for me and I’ll do for you.  He believes that cops look out for other cops, it is a matter of loyalty. He can be car charming however, but he is still sleazy underneath it all, including extra marital affairs or a pay off here and there as things arise to his advantage.

Ara Boghigian is excellent as Bill, managing to deliver charm and sleaze with equal ease and effectiveness. He is cocky and self-assured, at once endearing and repulsive.

The last member of the uniforms is Dawn, a female rooky cop. She has something to prove. It’s trough being a female police officer and she knows she has an uphill battle but relies on Bill to help see here through it all. She genuinely wants to make a difference. In that quest she is sometimes fierce and easily threatened and reacts in kind. She is disliked and resented by the rest of the all male squad, she is prey to their nastiness. She is a sucker for Bill who treats her well for the most part until it goes against his best interests like getting her to lie for him and cover up his transgressions and errors, until she is finally sexually coerced by him to cooperate of lose her career.

Valerie Westgate is wonderful as Dawn, and ably captures the mixtures of feisty and fearful with equal skill and flair.

Director Ed Shea keeps the rapport between he cast at its best, full of nuance and finesse. Even though the second act drags in spots, his wonderful cast keeps it all merrily moving along with laughs and serious moments. It’s a fun ride.

The set by Trevor Elliot is terrific. The lobby is excellent with its paneled walls, large glass doors to the outside, desk and elevator.

It continues at Second Story Theatre until October 6 in the DownStage Theatre. Performances Thursdays at 7 pm, Fridays and Saturday’s at 8 pm, Sundays at 3 pm.

Second Story Theatre 28 Market Street, Warren, RI box office 401-247-4200. www.2ndStoryTheatre.com

“Biloxi Blues” at Your Theatre

by Richard Pacheco

            Your Theatre’s current production of Neil Simon’s “Biloxi Blues” is a fun and sometimes touching romp through army life during World War II. “Biloxi Blues” is a semi-autobiographical play by Neil Simon. This play is the second chapter in what is known as his Eugene trilogy, following “Brighton Beach Memoirs” and preceding “Broadway Bound.”   It won the Tony for best play, and drama desk for outstanding new play among other awards.

The story involves 20-year-old Eugene Morris Jerome from Brooklyn, who is drafted into the United States Army during World War II and is sent to Biloxi, Mississippi, for basic training. Eugene learns to cope with fellow soldiers from all walks of life and all areas of the country and his desire to fall in love, and loses his virginity (under less than ideal circumstances), and become a writer, all while having to navigate around the eccentricities of his drill instructor.

Zane Furtado is Eugene Morris Jerome, Simon’s alter ego in the play, a young aspiring write who want to lose his virginity, find love and become a writer all in his trip to the army. Eugene is a thoughtful young man, who observes everything in distinct detail, in particular the behavior of his fellow soldiers and his observations are recorded in his journal which he keeps in hit usually locked footlocker. Furtado is charming as Eugene, full of an innocence and shrewd observation that is immensely appealing. He is delightful in the role, engaging and sympathetic.

Sgt. Merwin J. Toomey is Eugene’s arch enemy in boot camp, a man determined to break the spirit of individuality of all the recruits in order to make them into a cohesive, determined, follow orders batch of determined soldiers. He has one way of doing things, his way.  He allows for no variance and shows no compassion of tolerance. There is only the arm’s way, hence Sgt. Toomey’s way of doing things or no way. He is gruff, tough and relentless to his recruits. Chris Mac is Toomey and he delivers dazzling performance as a man with a mission. He manages to convey sincerity about his concern for the recruits behind the reason he is hard as nails, he wants them to survive and sincerely believes the only way he can do that is to break their individual wills and meld them into obedient soldiers who follow orders without hesitation or question.

Then there is the Jewish intellectual the somewhat meek milquetoast Arnold Epstein. Epstein hates any sort of conformity and often rants about Talmudic wisdom and logic and how he bases his life on that. He resists Sgt. Toomey with all his will, every inch of the way, determined not to succumb to the bullying and threats he endures. He even faces being an outcast with the other recruits in his stubborn persistence to remain above it all. He has a shrewd intelligence that is impressive even at his most stubborn and recalcitrant. David O’Connell portrays him with skill and ingenuity, a deft blend of intelligence and willfulness. O’Connell delivers a fine blend of defiance and honest intelligence.

The rest of the recruits are equally motley and different in their make up. There is Wykowski, who calls himself a dumb Polak. He is a bear of a man, who lumbers through everything with sheer animal instinct. He dislikes Jews, or at least Epstein and Jerome,  and loads of others. He is boorish and crude.  He is more than a bit of a bully and stubborn.  He takes offense easily and reacts harshly. Christopher McIntyre delivers a solid performance as the rough and tumble, crude and raw Wykowski.

Then there is Don Carney, the only black solider in the group. He likes to think of himself as a singer and often sings in his sleep, but the problem is he is a bit flat to put it mildly. He fancies himself a real Frank Sinatra type and dreams of a record contract and floods of women falling at his feet. But he’s in decisive and can’t seem to make his mind up about anything. Wil Berthaud Jr. handles the role with flair and a sense of playfulness that is appealing. He has a strong sense of comic timing.

Joel Ward is Roy Selridge, a likeable lanky guy who lacks imagination and is an attentive audience for Wycowksi. He has no clue about geography. Ward is solid as Selridge, serving as an apt devotee of Wycowksi’s tirades and rants, offering often non verbal support.

David Martin is James Hennesey, the final recruit. He quickly shows his sensitive side when they play a game to tell what they would do with only a week to live. He says he would spend it with his family. He also stands up to the bullying Wycowksi when he reads from Jerome’s diary ot the others and calls it an invasion of privacy. Martin is smooth in the role and effective.

Suzanne Bergeron is the prostitute Rowena, a woman who does not consider herself a pro because she only does it on weekends and her husband knows about it all anyway. Begeron is convincing as the sultry pro with the non-nonsense practical approach to sex, and everything else.

Cassie Porter is charming as the young woman Eugene falls in love with, the super Catholic Daisy Hannigan. She is a delight, full of an awkward, fresh innocence and shyness that is engaging and appealing.

Director Larry Hourbre Jr. keeps the pacing usually deft and fast.  He moves his cast with finesse and assurance.

The set by Houbre is highly effective, fluid and changeable to cover all the various locations it shifts walls in and out of position with ease.

The costumes by Suzanne Bergeron are highly effective from the uniforms to her prostitute outfit and Daisy’s dress.

The play is often funny, but has its share of serious moments. It is fun to watch.

Your Theatre until Sept.22 All tickets $15
136 Rivet Street, New Bedford, MA
508-993-0772 http://yourtheatre.org/yti/index.php

“Grapes of Wrath” at Trinity Rep

by Richard Pacheco

Trinity Rep opens its 50^th season with a magical moving production of a new adaptation of John Steinbeck’s class Depression era saga, Grapes of Wrath a perfect blend of superb acting, inventive direction and original music in a must see production. “Grapes of Wrath” was adapted by Frank Galati from the novel written by John Steinbeck and published in 1939. For it he won the annual National Book Award and Pulitzer Prize for novels and it was cited prominently when he won the Nobel Prize in 1962. A celebrated Hollywood film version, starring Henry Fonda and directed by John Ford, was made in 1940.

Set during the Great Depression, the novel focuses on the Joads, a poor family of tenant farmers driven from their Oklahoma home by drought, economic hardship, and changes in the agricultural industry forcing tenant farmers out of work brought about by the New Deal era Agricultural Adjustment Act. Due to their nearly hopeless situation and in part because they were trapped in the Dust Bowl, the Joads set out for California. Along with thousands of other "Okies", they sought jobs, land, dignity, and a future. Amidst the overriding sense of despair and hopelessness is an underlying binding love of family and decency which makes it all so transcendent.

The Frank Galati adaptation is brilliant and combined with the original folk rock music from Sherri Edlin and Zdenko Martin is stunning adding mood at atmosphere as well as a soulful element to the production. It is all propelled by superb acting across the boards. It is compelling and moving on so many levels. It leaves an indelible imprint on mind and soul.

Stephen Thorne is superb as Tom Joad, a Joad family member just paroled from prison after killing a man in a bar fight. When he returns home he finds his family tossed of the land and on the verge of moving to California to find work because someone passed along fliers saying that they needed workers to pick fruit in that state. Faced with this stunning predicament, Joad joins his family in the trek and invites their former preacher, Jim Casey along. Thorne is a masterful blend of seething anger, confusion and resentment and the injustices he sees, not just directed at his family but at others.

Anne Scurria., longtime Trinity Rep members dazzles as the rock steady Ma Joad, a woman bound to her family with love, dedication, steadiness and raw determination to carry on. Scurria is sheer delight, moving with extreme grace between reeling at a new disaster and a passionate desire to continue and triumph no matter what. Scurria is pitch perfect in the role, a delight to mind and heart.

Richard Donnelly is Pa Joad, a man of simple tastes and loyalties to his family an friends. Donnelly is wonderful in the role, a mixture of gritty down to earth steadfastness and persistence in the face of deep troubles and rugged simplicity. It is a deft and moving performance.

Joe Wilson Jr. is the reformed preacher Jim Casey who found himself to fond of the women at his prayer services for his own good. Wilson is right on the mark as this all to human former preacher, aware of his sins and not apologetic at all, in fact, almost taking pride in them. Wilson is a delightful mixture of home spun humor and honesty that is compelling and appealing.

Fred Sullivan Jr. is Pa’s brother John, a man beset by personal diamonds and overriding guilt which constantly gnaws away at his mind an heart and he is unable to shake loose of it no matter what he does. Sullivan aid tremendous in the role, masterfully blending the haunting despair and guilt with a passionate desire to be a better man.

Janice Duclos is Gramma Joad, a feisty old woman who speaks her mind and heart. Duclos ia a delight in the role, spirited and full of down home simplicity in winning mixtures.

Stepehen Berenson is Grapa Joad, irascible, outspoken with little or no shame. It is a winning and enticing performance, full of brash bravado and undeniable nuances.

Director Brian McEleny delivers a superbly articulated production of movement all over the stage and stairways and concocting a “truck” for the Joads to move to California.. His hand is sure and supple in this fantastic blend, guiding his actors with a subtle and inventive touch to keep this in the round production always vivid no matter where you sit.

The rest of the large cast is equally wonderful, full of honesty and energy throughout.

The original folk rock music penned by Sheri Eldin and Zdenko Martin is brilliant, aptly capturing the flavor of the Depression era with deft skill and powerful emotions. The house band for this,3pile is stunning blending in when needed adding an entire other emotional depth to the production.

The costumes by William Lane are evocative and accurate, giving the gritty flavor of Oakie dust and despair.

The set by Michael McGarty is a brilliant concoction of simplicity and evocativeness. A slab of stage in the center is surrounded by seats, while plunked in the middle is a live rustic country bar that actually serves patrons before the performance and during intermission.

The 17 member cast is pure delight, creating a vivid, palpable world of grit, dust and despair with a tingle of hope and humanity amidst it al. This is a must see production and it will leave an indelible tattoo on your mind, heart and spirit.

Continues until October 6. For tickets, call the box office at 401-351-4242. Adult ticket prices for A Christmas Carol start at Tickets are $36-$70. For information on group discounts for parties of 20 or more contact Group Sales at 401-351-4242 or online at online at: http://www.trinityrep.com