Author Archives: Emily S. Mendel
Shotgun Players prides itself on being “the little theater company that does big plays,” so producing its own extraordinary version of Hamlet seems absolutely appropriate. To begin its 25th season, Artistic Director Patrick Dooley assembled seven talented and gutsy players, who five minutes before the start of each performance pick names from a hat (actually Yorick’s skull) to determine which role each will play that evening. Although they’ve all rehearsed each part, to perform a major one, or two or three smaller parts, with so little prep time is incredibly difficult. It’s hard to imagine that Shotgun could pull this off, but the result at the evening I attended, was extremely successful. It’s different than other productions of Hamlet I’ve seen, but in a good way.
Notable Shotgun regulars Kevin Clarke, Nick Medina, Megan Trout and Beth Wilmurt, and guest artists El Beh, Cathleen Riddley and David Sinaiko, have spent many months in workshops, rehearsals and dueling practice to ready themselves for the 13 roles they play. If you do the math, there are 5,040 possible combinations of actors and roles. Many fans have attended more than one production. One stalwart has seen nine versions of Shotgun’s Hamlet since it opened. I understand why seeing multiple performance is tempting. The dynamics of each evening are distinctive, because of the changes in cast. … Continue reading »
I just saw playwright David Ives’ witty and wild re-imagining of the early 18th-century French comedy, Le Légaire Universel by Jean-François Regnard. And I’m very glad I did. The super-creative Ives has taken a mild comedy by a Molière wannabe from the Commedia dell’arte school, and created what he calls a transladaptation, which turns the original material into a priceless combination of an 18th-century bawdy French farce and 21st-century clever American comedy — all in creatively rhymed couplets. It takes an ingenious writer to rhyme Kosher and gaucher.
The first-rate cast features California Shakespeare favorite Julian López-Morillas (The Aspern Papers, Nora,) as Geronte, the old, ailing, cantankerous miser (yes, shades of Molière). Geronte’s maidservant, Lisette (excellent Katie Rubin), his nephew, Eraste (notable Kenny Toll, Shotgun Players’ Eurydice, Antigonick) and his nephew’s servant, Crispin (sparkling Patrick Kelly Jones, Metamorphosis, Detroit) can’t wait for Geronte to kick the bucket and leave his fortune to Eraste. … Continue reading »
A new play by MacArthur Fellow and Tony Award-winner Mary Zimmerman is always a reason to celebrate. Her Metamorphosis, Arabian Nights and White Snake have thrilled Berkeley audiences, myself included. These plays represent her sublime ability to take timeless, legendary tales and imbue them with stage magic and emotional resonance. Yet her adaption and direction of Robert Louis Stevenson’s Treasure Island, a co-production of Berkeley Rep and Chicago’s Lookingglass Theatre Company, for all of its achievements, never reaches the heights of her most brilliant productions.
Treasure Island (1881-1882) was one of the first adventure stories written for boys, and it’s still a terrific yarn. It’s a coming-of-age story set in the mid-1700s in which young Jim Hawkins, who is also the narrator, (excellent John Babbo) sails on the schooner Hispaniola seeking pirate treasure (X marks the spot). Jim ultimately uses his courage and wits to challenge that most infamous brigand, the amoral yet amiable peg-legged, crutch-toting, parrot-shouldering Long John Silver (great Stephen Epps, Tartuffe, Accidental Death of an Anarchist, The Miser). … Continue reading »
It’s a rare treat when an evening at the theatre can engross, educate and entertain, all in one performance.
The How and the Why, written by Sarah Treem (Showtime’s The Affair, HBO’s In Treatment and Netflix’s House of Cards) with two especially talented actors, Nancy Carlin (The Monster-Builder, Hysteria, Benefactors) and Martha Brigham (San Francisco Playhouse, La Jolla Playhouse), under the excellent directorship of Joy Carlin (Talley’s Folly, After the Revolution, Body Awareness) is that perfect drama.
The play is sometimes challenging, occasionally humorous, but always a thought-provoking dialogue between two women evolutionary biologists who meet for the first time, but have much in common.
Sparks fly when 28-year-old graduate student Rachel (Martha Brigham) meets the older and eminent professor Zelda (Nancy Carlin) in Zelda’s unnamed university office (presumably Harvard, as becomes apparent from the Act II set). Both women are uneasy; there are false starts. As they feel their way into a conversation about evolutionary biology, they are on safer ground. … Continue reading »
The Broadway stars were shining on Berkeley for the opening of Macbeth at Berkeley Rep.
Conleth Hill, an Olivier and Tony award-winning stage actor, with distinguished screen and television credits, (Lord Varys in HBO’s Game of Thrones) stars as Macbeth, the once brave warrior destroyed by ambition, guilt and self-doubt. Frances McDormand, the celebrated Tony, Emmy and Academy award-winning actor, plays the forceful and fearsome Lady Macbeth, as well as one of the witches. Added to the star-studded duo is the talented, Tony award-winning director, Daniel Sullivan, who has previously directed Hill and McDormand in other New York Shakespeare productions.
With this glittering group, and with Macbeth being one of my favorite Shakespearean tragedies, my expectations may have been impossibly high, but in any event, they weren’t fully met. Don’t get me wrong — I liked the performance overall. It may come down to a question of style. I studied the poetry and oratory of Shakespeare, and so I enjoy a bit of the ham in Shakespearean actors. This production focused more on moving the plot along than on the emotion of the main characters and the affecting recitation of the soliloquies. In some scenes, the actors did capture the emotion and the eloquence of the language. Yet in many other instances, that passion was missing. At times it was difficult to hear the actors and understand the words they spoke, as lines seemed rushed and poorly articulated. … Continue reading »
Although intellectually we understand that we will die, most of us try to avoid contemplating death — either our own or of those we love. Julia Cho’s poetic new drama, Aubergine, makes us confront the heartrending loss of a parent and the painful grieving process that follows. Interlaced with the theme of loss is food — and its invocation of childhood, memory and love.
An affecting emotional, but fragmented drama, Aubergine begins with a moving monologue by Diane (marvelous Safiya Fredericks) about her deceased father’s favorite food. I was teary within the first minutes.
The scene then shifts to the main story about the death of a stern, elderly South Korean immigrant (Sab Shimono), who struggled to make a life for himself and his son, Ray, after the premature death of his wife. As an adult, Ray (fine acting by Tim Kang, TV’s The Mentalist) and his father had little in common. Ray is a dedicated chef, whereas his father, who seemed to take no enjoyment from food, believed that cooking is a woman’s job. When Ray’s father is released from the hospital to die at home, Ray becomes his reluctant caregiver, guided by a kind and wise hospice nurse, Lucien (first-rate Tyrone Mitchell Henderson). … Continue reading »
Little Eyolf, one of Henrik Ibsen’s lesser plays, has been updated and up-ended by writer and director Mark Jackson in the Aurora Theatre’s world premiere production of Little Erik. In re-writing Ibsen’s 1894 plot into a superficially contemporary story about a hard-driving executive wife, a mercurial wannabe novelist husband and a disregarded disabled child, Jackson seems to be on the right track until the latter half of the one-act, 80-minute drama, where all goes awry, as the writing departs spectacularly from Ibsen’s original plot and veers into surprisingly shoddy melodrama.
The eponymous Little Erik (talented Jack Wittmayer) was injured as a baby when he fell off a kitchen table while his parents were making love on the floor. Thus begins the guilt, tension and anger that adds pressure to the couple’s already strained relationship. … Continue reading »
BAMPFA’s new building is an absolute winner. The 82,000-square-foot home catapults Berkeley’s visual art scene into prominence — comparable to many larger, richer and better established West Coast institutions. It handsomely repurposes the former 1930s WPA UC printing plant building. Affixed to it is a brightly clad steel tube-like section that houses the new 232-seat Barbro Osher Theater, where films from its impressive archive of over 300,000 items will be regularly screened. There is also a 33-seat screening room and two film viewing booths available by appointment.
As a building that needs to serve town and gown, visual art lovers and movie goers, the new BAMPFA very successfully performs its multiple functions. And, although its steel covering, reminiscent of a Frank Gehry project, is incongruous with the neighboring buildings, it still seems to work. The design by the world-class architecture firm, Diller Scofidio + Renfro, provides an inviting, open, multilevel environment, with its share of hidden corners, and reading, art, performance and meeting places. And, of course, the Babette café and a gift shop. … Continue reading »
Since 1952, London audiences have been frightened, surprised and delighted by Dame Agatha Christie’s The Mousetrap, and Shotgun Player’s audience will be no exception. Under the talented direction of Shotgun’s Artistic Director, Patrick Dooley, with an outstanding cast and an elaborate stage set, this quintessential country house murder mystery seems as fresh, engaging and mysterious as it did 63 years ago.
Giles Ralston (Mick Mize) and Mollie Ralston (Megan Trout), recently married after a brief courtship, inaugurate their guest house, Monkswell Manor, during a severe snowstorm. We meet their four expected guests, the outwardly charming but inwardly neurotic, Christopher Wren (Nick Medina), a young wanna-be architect whose parents had a bad sense of humor, the supercilious and cantankerous Mrs. Boyle (Trish Mulholland), the blustery retired Major Metcalf (David Sinaiko) and the morose Miss Sara Casewell (Karen Offereins). The innkeepers do not know anything about their guests, except that, presumably, they each have seven guineas per week to pay for their room and board.
In the midst of the dreadful storm, an unexpected guest arrives. Mr. Paravichini (Alex Rodriguez), seeking shelter for the night, explains that he had to abandon his car in the now impassable roads. Luckily, the Ralstons have a small room left for him. But who really is this unusual man wearing makeup and speaking with a strange accent? … Continue reading »
The exceptional and intense Pulitzer prize-winning drama, Disgraced, is a timely and unflinching exposition into the power and perils of race and ethnicity in America. Talented novelist (American Dervish) and playwright Ayad Akhtar elegantly communicates these multifaceted concepts using only four main characters, whose lives change over the course of a social dinner.
Amir Kapoor (Bernard White), a Pakistani American corporate lawyer, is hoping to make partner at his predominantly Jewish New York law firm. He claims to be Indian (and therefore Hindu), hoping to hide his less acceptable Muslim background. After all, he has rejected his religion, calling the Koran, “one very long hate mail letter to humanity.”
Living a sophisticated American life is far more significant to Amir than looking backwards at his religion and race. But, as much as he wants to escape his heritage, like a dark enveloping shadow, it hauntingly reappears. As my mother was fond of saying, “If you try to escape your background, people will be glad to remind you of it.” … Continue reading »
Although The Monster-Builder is at times captivating, I’m still a bit flummoxed by its construction. It’s mostly a comedy that interlaces cogent comments about post-modern architecture. However, it awkwardly mixes its moods, alternatively presenting satire, farce and sex-capades with observations on building design, but without creating an integrated theatrical experience.
We all can recognize post-modern architecture by our strong reaction to it. Sometimes we are in awe of the creativity and experimentation shown in a startlingly gorgeous building. Other times, we wonder what the architect and client could have been thinking when we notice an odd-shaped building that doesn’t fit its location or purpose. Playwright Amy Freed (Freedomland- 1998 Pulitzer Prize nomination, The Beard of Avon; Still Warm; Restoration Comedy, You, Nero), the daughter of an architect, seems to only express the negative aspects of modern architecture. … Continue reading »
The Hypocrites, an ebullient, talented young musical troupe from Chicago is storming the beaches of Berkeley Rep (and Penzance) in their loving send-up of Gilbert and Sullivan’s Pirates of Penzance. These performers are so gifted in both voice and acting that they could probably perform the operetta Pirates of Penzance as written by Gilbert and Sullivan in 1879. Instead, director and adapter Sean Graney with co-adapter Kevin O’Donnell have spoofed, shortened (to 80 minutes) and transformed it into a modern musical version, using many of the melodies and lyrics of the original songs.
Upon entering the Rep’s new Osher Studio on Center Street, one is immersed in the joyous, colorful, tuneful, noisy world of the Hypocrites. Each member of the cast wears a silly costume, and sings, jumps, grins, claps, throws beach balls, engages the audience and plays an instrument (including banjos, guitars, clarinet and a saw). If you have booked “promenade seating,” you may be sitting on a bench or in the kiddie pools with the yellow rubber duckies. And be alert, you may be asked to move out of the way when the players need your seat during the performance. All part of the fun. … Continue reading »
One thing about Shotgun Players — they’re always up for trying unusual and challenging plays. Sometimes their attempts result in exceptional evenings, especially for a small local theater company. However, at other times their reach exceeds their grasp. The Rover, unfortunately in the latter group, is a production that only sometimes works, despite the best of intentions.
Written by Aphra Behn (1640? – 1689), a prolific British female playwright, poet, and novelist from the Restoration Period (1660 – 1710), The Rover is basically a silly comedy of manners, but it is also exceptional since the female characters are outspoken in expressing their “modern” sexual desires. This was radically avant-garde during the Restoration Period and Director M. Graham Smith does his best work while emphasizing this aspect of the play, which still charms. … Continue reading »