Tag Archives: Aurora Theatre Company
Aurora’s new production of “Master Harold” … and the boys is a brilliant evening of theater. Its playwright is South Africa’s Athol Fugard, whose internationally respected anti-apartheid works include Blood Knot, Boesman and Lena, and My Children! My Africa! “Master Harold’s” cast of three, L. Peter Callender, Andrew Humann and Adrian Roberts, are all superb in their roles. And Timothy Near’s discerning direction perfects the production.
The powerful, award-winning “Master Harold,” a 90-minute autobiographically-based drama set in one rainy afternoon in 1950, is about Hally (aka Master Harold), a 17-year-old Afrikaner white boy, and Sam and Willy, two middle-aged black servants employed by Hally’s family. … 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 »
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 »
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 »
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 »
Most of us find flying a tedious chore these days, so you can imagine how flight attendants feel. In Marisa Wegrzyn’s bittersweet comedy, three female flight attendants reunite at a bland airport hotel near Chicago’s O’Hare airport. Rather than the clear blue sky flown by “stewardesses” of the past, their humorous and poignant reminiscences emanate from a Mud Blue Sky.
In a very funny opening silent soliloquy, first-rate Jamie Jones (Gidion’s Knot, A Delicate Balance) as Beth, an aging and exhausted flight attendant, slowly takes off her painful shoes and cases her numbingly beige hotel room like a pro. After all, someone could be hiding under the bed. She’s seen it all. So she washes her hands several times in the opening few minutes.
While tending to her aching back, her flighty (pun intended) co-worker, single parent Sam (well-acted by Rebecca Dines), enters and tries unsuccessfully to entice Beth to join her and former attendant Angie to go bar-hopping. Unfortunately, divorced Angie (skillful Laura Jane Bailey) has been fired for being overweight; she now tends to her invalid mother near Chicago. And her dog just died, too. Angie is a walking cautionary tale. … Continue reading »
The fiery dark comedy, Detroit, written by Lisa D’Amour, richly deserves the Obie Award it won in 2013 for the Best New American Play. When it first opened in Chicago at the Steppenwolf Theatre in 2010, the U.S. was floundering through the sudden and severe recession that turned people’s lives inside out. Detroit adroitly captures those angst-filled times and weightier concerns, yet has plenty of humor and satire that lessens the pall. It is also an exploration into the dream or mirage of the American middle class life.
Mary (Amy Resnick (Body Awareness, Collapse) and Ben (Jeff Garrett, QED, Berkeley City Club, Assassins, Shotgun) live in a post-World War II close-in suburb near an unnamed city. Mary is a paralegal, but is more interested in shopping online than doing her work. Ben has been laid off from his job as a bank loan officer, but has big plans to start an online site to help those in debt. And he surfs motivational websites. Perhaps he still has a shot at the American Dream. … Continue reading »
UC BOTANICAL GARDEN’S 125TH BIRTHDAY During its 125 years of existence, the University of California Botanical Garden at Berkeley has served as a haven for endangered plants rescued from smugglers, a lab for studying climate change, biomagnetism and hummingbirds’ territorial behavior, a seed bank, a classroom for children and an idyllic backdrop for weddings. The Berkeley garden, home to one of the oldest, largest and most diverse collections in the U.S,. kicks off its 125th anniversary celebration on Sunday, June 28, with music (by the Tiny Rock Band and The Banjo Racketeers), a beer garden featuring Trumer, cupcakes (by Kelsey Robinson of The Whole Cake), lemonade, and gelato (by Bar Gelato) at its 34-acre site overlooking San Francisco Bay. Read all about it. … Continue reading »
One of the fresh, modern aspects of the 1978 Fifth of July by Pulitzer Prize winner Lanford Wilson (1937–2011) is that it concerns a gay couple whose sexuality is never questioned. Neither is the relationship the subject of angst, derision or other negative reaction — just love and acceptance. Unfortunately, a few other elements of the play seem slightly off, despite the fact that Fifth of July has much to offer.
It’s 1977, and we’re at the Lebanon, Missouri childhood home of Kenneth Talley, Jr. (Craig Marker) a legless Vietnam veteran, who lives with his partner, botanist Jed Jenkins (Josh Schell). Jed seems content to put down roots there by continuing to improve the English garden he has designed. But Ken is now reluctant to teach at the local high school as he had planned, and is considering selling the house.
Visiting Ken are some longtime friends from his 1960s days in Berkeley, copper conglomerate heiress Gwen Landis (Nanci Zoppi) and her assertive husband, John Landis (John Girot). Gwen dreams of becoming a country singer and is actively promoted by her husband. They are traveling with Gwen’s amusing guitar player, Weston Hurley (Harold Pierce). John thinks that the 19-room Talley house would make a fine music studio for Gwen. Or does John have ulterior motives? … Continue reading »
Those who are fortunate and fast enough to find tickets for Aurora’s Theatre’s Talley’s Folly will enjoy a first-class theatrical experience.
Celebrated author Lanford Wilson (1937–2011) deservedly won the 1980 Pulitzer Prize for Drama for this tender two-person, one-act romantic comedy. It’s one of the plays in Wilson’s famed trilogy about the wealthy Talley family of Lebanon, Missouri. Aurora will be presenting the two other plays in the trilogy, Wilson’s Fifth of July from April 17 through May 17, 2015, and four private staged readings of the less produced Talley & Son in April.
Noted Bay Area veteran actor and director Joy Carlin directs inspired performances by Lauren English, as the unmarriageable 30-year old Sally Talley, and Rolf Saxon, as 40-something Matt Friedman, a Jewish émigré accountant from St. Louis, who shows up on July 4, 1944 at the Talley boathouse (or folly) to propose marriage to Sally. … Continue reading »
In the opening act of The Lyons, Nicky Silver’s bitingly funny and undeniably moving play, we are in a hospital room in New York, where Ben Lyon (Will Marchetti) lies terminally ill with cancer, cursing with pain, as his wife Rita (Ellen Ratner, After the Revolution) thumbs through decorating magazines, casually discussing her plans to redecorate their living room after Ben dies. Not your average loving couple merely engaging in bickering banter, Ben and Rita have struggled through 40 years in a difficult marriage burdened by disappointment and regret.
Into the hospital room timidly peeks adult daughter, Lisa (Jessica Bates, After the Revolution) a single mother of two boys, recently separated from her husband. Lisa struggles to cope with her day-to-day life as well as her psychological and alcohol issues. She’s clearly uncomfortable and distressed by her parents, seemingly more because her father’s condition was kept from her for months, than the fact that he is dying. … Continue reading »
Ask playwrights about their interest in theater and you will likely travel back in time to a childhood — if not further back to ancestral DNA — leading them to fall in love with words.
Such is the case with Jonathan Spector, who attended four different elementary schools in a family of fluid movers as they followed his professor father’s career from Washington, D.C. to Alabama and beyond. Entering each blacktop playground scene as the new kid, Spector analyzed relationships, learned the “language” of novel circumstances, developed an eye for the social color of various classrooms and communities. In non-theater words, he learned to get along.
So it comes as no surprise that FTW, a new play selected by Aurora Theatre Company for the 10th annual Global Age Project (GAP), is all about relationships and characters playing out large, social concerns against a backdrop ripped right out of everyday life.
“I wrote this very quickly; it’s very local West Oakland,” Spector says in an interview. “It’s three women who went to college together and how the shared experience falsely flattened out differences between them. They launch themselves into the world thinking they are the same and find out that is not the case.” … Continue reading »
An intimate power struggle between Robert Mugabe, the President of Zimbabwe, and Dr. Andrew Peric, a white Zimbabwean psychiatrist, is the compelling concept of Aurora Theatre’s gripping, finely acted drama, Breakfast with Mugabe.
British author Fraser Grace based his riveting play, first produced by the Royal Shakespeare Company in 2005, and then off-Broadway in 2013, on news reports that a white psychiatrist had been called to treat a severely depressed President Mugabe, to cure him of being haunting by the malicious spirit of a rival who died under dubious circumstances. Set right before the 2002 Zimbabwean elections, the tense sessions between the two men illuminate the racial, political, historical and emotional divide between blacks and the white landowners in Zimbabwe and, for that matter, in all of formerly colonial Africa. … Continue reading »