FEBRUARY - MARCH 2001 ----------------------------In this issue--------------------------------------- Life in the Theatre: Mary Lathrop is Operating without a 'Net The Play's the Thing: The Good, The Bad, and The Ugly - Updating Shakespearean Plays (with apologies to the Bard and Clint Eastwood) Voices in Contemporary Theatre: Black History Month- In the Footsteps of Moses and it's author Willis Whyte celebrate Harriet Tubman as an American Heroine CyberTheatre Monthly: And speaking of women... Antigone, The IRS Guide to Entertainment, Starbound: A Performer's Site, Movie Musicals from Stage to Screen Letter from London - What we're looking forward to in 2001 and the Olivier Awards Enter Laughing - Posted backstage, Tribute to a great showbiz personality, The Best of Playbill's Goofy Titles Rubin's Corner - West End musical: The Beautiful Game. Meanwhile, back across the pond, what's new with David Mamet at the Atlantic and Noel Coward at the Roundabout Supplement: An ingenious intelligent stream of consciousness! The Sound And The Fury Is Re-staged at Perishable Theatre -------------------------------------------------------------------------------- LIFE IN THE THEATRE Operating Without A Net Eight playwrights, eight directors, eight designers, and forty actors --plus an incredible production team-- all of whom came together at Consolidated Works in Seattle to create, produce and perform 16 new plays in two days in January. So okay, it should have been called 16/48, but for five years it had always been 7 + 7 + 7 + 40 which equaled 14/48 and why confuse the ticket buying public who attends this popular, twice yearly event? A fundraiser for One World Theatre and Consolidated Works, 14/48 happens in January and May. Everyone I know who has ever done a 14/48, whether as an actor, director, designer, playwright or box office volunteer has always had such glowing things to say about it that when I was invited to participate this January, I said yes immediately, despite the fact that I had a new ten minute play opening at a theatre across town the same weekend and am simultaneously in rehearsal for a brand new full length play that opens in 3 more weeks. It never rains... Well, that's not true, it rains a lot in Seattle, but I've been here long enough that I don't bother with umbrellas. Am I sorry I did it? No way! How lucky can a playwright get than to spend two days immersed in the creation new theatre pieces, surrounded by fabulously talented people all dedicated to doing the best work they are capable of doing. There were 70 people all working their asses off for two unbelievably long days for NO MONEY and most of them were back for the second or third (or more) time. I can't wait to do it again! It began with a meet 'n greet meeting on Thursday. The central event of the evening was the selection of the first of the two themes. Actors, directors, playwrights and designers all wrote their ideas down on 3x5 cards and tossed them into a brown fedora. I prayed for a good theme (actually, I prayed for the theme I had written down--Around The Bend, which I thought would lend itself well to many different interpretations--wasn't that selfless and high minded of me? --not to mention that I already had an idea for a play I could write involving a contortionist and a river guide...) The winning theme was Home For The Holidays. "Oh no, not the holidays," I thought. Next, each of the eight playwrights pulled a slip of paper out of a lunch bag. And that's how I found out that I'd be writing a brand new ten minute play about a holiday or a home or a holiday AND a home for a cast of four--2 m, 2 f., and that it would be #7 out of 8 in the running order. I had less than 11 hours to complete my assignment. After some brave banter and a raggedy group hug with the other playwrights, I headed home. It was already after 10 p.m. Tick, tick, tick.... Earlier in the day, I had decided that whatever the first strong image that came into my head after I learned the theme, that was where I would start. And I'm someone who NEVER starts anything without at least a general idea of what I'm doing and where I'm going. Only one problem-the screen upstairs was relentlessly blank! Home For The Holidays--my husband thought I should write a post-Xmas play, so that I could take our bedraggled post of an ex-Xmas tree down to the theatre to use as a prop for my show. You know, save him a trip to the transfer station and make art, all at the same time. The first 5 minutes of my writing time was spent explaining to him that dead Xmas trees don't make for drama in 10 minute plays, at least not for me. The next 40 minutes of my writing time was spent cursing the theme in general and cursing my bad luck in particular to be stuck with such a stupid theme. Followed by 20 minutes of hoping for a miracle. About midnight, my 20 year old son wandered through with the suggestion that I should write a cooking show. "A cooking show? Yuk," I said, and then suddenly, I saw before me my grandmother's old painted, wooden recipe box. So I started by making a list of the dishes she cooked for the Jewish holidays when I was growing up. "For Rosh Hashonah, tsimmes..." is how I began, not even sure who was speaking. But soon it became a scene in which a grandmother shares her recipes with a soon-to-be-a-bride granddaughter and ends up giving her advice about sex and marriage. The play travels from the grandmother's kitchen table back in time to the beginning of the grandmother's own marriage and then forward in time once again to the grandmother's passing away. I titled it THE SABBATH BRIDE, finished up writing at about 3:30 a.m., grabbed a few hours sleep, and was back at the theatre with four copies of my Home for the Holidays play at 9 a.m. 9:15, Friday morning, the eight directors each picked a sealed envelope containing one of the eight brand new scripts. My director for THE SABBATH BRIDE was someone I didn't know, an actress and director who is the co-director One World Theatre and a longtime 14/48 veteran. I felt a surge of confidence, because if anybody knew how to survive 14/48, it had to be my director. Big smile on her face, but with that deer-in-the-headlights thing in her eyes, nonetheless. I guess it doesn't matter how often you do it, leaping into the unknown is always leaping into the unknown. After we said hello, she pulled the names of our four actors out of envelopes (one envelope for the men, one for the women). The luck of the next draw got us our show's designer, who turned out to be a lighting designer whose work I admire. A quick meeting of director, playwright and designer at about 9:30. When he found out that he would be designing and lighting a show in which the big scene happens by the light of a pair of candles, he gave me a big hug and said, "wait till you see what I can do!" The actors' call was at 10, so by 10:15 AM., my director, actors and I were walking into the space where they would spend the day staging my play. I stuck around for the first read through, answered some script questions, volunteered a pair of brass candlesticks for the set, discussed a couple of script changes with the director, and watched the first scene get blocked. At noon, I headed home to catch a nap while everyone else was working. Back at the theatre at 5:30 for our 20 minutes of tech time in the theatre. The actors left to collect costume pieces from home. I took my director out for drinks. Jack Daniels. Doubles. Straight up. THE SABBATH BRIDE was in front of its first audience at the 8 PM. show Friday evening then had a second (final) performance at 10:30. My director, designer and cast all did such a great job. The set was simple but effective, as were the period costumes, and the piece was beautifully lit.At one point in the play, one of the characters says, "This is nice; we're our own little island," and that's what the designer created for us, an island of light. The piece was illuminated in a pool of soft gold light, with the rest of the stage in shadow. It was so beautiful! The actress who played the lead took my breath away. The serendipity of the lottery-style casting had blessed us an actress who was perfect for the lead role-- not to mention that she was Jewish so she already knew the blessing over the candles and how to pronounce the names of all that food!) It was, in fact, a major topic of discussion all evening, that the luck of the draw in casting was especially fortuitous for THE SABBATH BRIDE. During the 8 PM show's intermission, audience members were invited to write themes on cards and put them in a bowl. At the curtain call, one card was drawn out, and the playwrights were given the theme of "Instant Karma" for our second night. "All right!" I thought. "Great theme--there are a million ways I can go with Instant Karma! This'll be way easier than that stupid Home For The Holidays." I went home to start writing. I crossed paths on the way out of ConWorks with my husband and son who were coming seeing the 10:30 show, which meant that I had the house to myself for a couple of hours while I got to work. It didn't help at all! THE SABBATH BRIDE was totally in my way. I was so pleased with this first play, with this first outcome --and I had just been receiving some head-turning praise, with many people telling me how much they loved my piece, how it made them weep and long for their own grandmothers--I couldn't let go of it, couldn't put it away and just do my work. I made a number of false starts--a 60's hippies tie-dyed microbus thing, a viva Las Vegas gambling drama, a play about how the guy who cut me off on the freeway the other day had his stupid Range Rover come to life and devour him ... I played the John Lennon song repeatedly listening for clues. But mostly I just sat around thinking about how much fun the past 24 hours had been.I started work on a play about two sisters, one of whom was sure that they'd been best friends in a previous lifetime when they'd lived on neighboring farms on a mountainside in the Alps. 30 minutes of research on the Internet about Switzerland and reincarnation, followed by a snack of Jarlsberg cheese and chai tea, but despite a straightforward sibling conflict, a famously neutral European nation and yodeling, there was no way I was gonna sustain this stupid idea for ten entire minutes of stage time. I meditated and drank a can of diet coke with caffeine to clear my mind. Next, I started working out the anagrams for Instant Karma: A play about a title character named "Ask It Man Rant", perhaps? He could be famous a mystic and a fortune teller, whose predictions never (or always) came true... Naw. A play called "Tan Arm At Sink" about ...what? A one-armed somebody on vacation at the beach standing at the sink trying to wash the dishes?... I took a second swing at writing the Swiss reincarnation/yodeling saga. I turned to the Tarot cards, vowing to write a piece based on whatever three cards I pulled at random from the deck. I started work on "The Moon, Strength and The Nine of Wands". Suffice to say, by comparison, the amputee at the beach story was absolutely brilliant! At 3:30 a.m., I was mentally composing a letter of apology to the good folks at 14/48. I figured I could sneak down to the theatre before dawn and tape a note to the door, a la Martin Luther, but without the 95 theses. But what a chicken-shit solution! No, I decided, if I was going to fail in this, I was going to do the noble thing and show up at the theatre in person. If need be, I would take the stage during my time slot (#5, right after intermission) to apologize to sold-out houses at 8 and 10:30. Hey, wait a minute! That sounds like a premise for a play! The piece is entitled CRISIS AT DAWN. It's about a playwright named Mary Lathrop who just can't catch a good idea for night two of 14/48. Rather than bringing in her script at 9 AM. like she was supposed to, she has just arrived about an hour ago with her failure and the script of a very bad ten minute play entitled CRISIS AT DAWN about a playwright named Mary Lathropwho just can't catch a good idea.... But the show must go on and the director and actors have reluctantly agreed to do it as a script in hand, unrehearsed reading of CRISIS AT DAWN. It's goofball theatre farce and I've never had more fun writing anything. The script was more or less done by 5 so I even got a few hours of sleep. I was at ConWorks at 9 sharp with my four copies. My second day director had worked on a very dark and serious piece on day one. What a contrast for him for day two! The first thing I told him was that we would be calling the character named simply "The Director" in the script by his name from then on. And the actors we were working with were to be characters in the play, as well. Although because Heidi (the actress) would be playing Mary Lathrop (the character) in the play, Heidi (the character) was to be played by Pattie (the actress), while Pattie (the character) never appeared onstage, because according to the story, she (Pattie the character) had already left the theatre in disgust. Similarly, Shanga (the director) had to direct Eric (the actor) in his role as Shanga The Director (the character), while the part of Eric (the character) was portrayed by Marie (the actress) and Marie (the character) was nowhere to be found because she had stormed out with Pattie (the character).Confused yet? Did I mention that sometime during the day, the piece picked up an original underscore with a late-70's porno flick theme that was performed, perhaps a titch too enthusiastically, by the 14/48 house band? It worked out better than I could have imagined. It was a funny enough theatre spoof to play well for the audiences, but full of inside stuff for the 14/48 folks. What I wrote was so specific to the venue and the moment, that I can't imagine it ever being performed again, and that, I suppose, is what I love best about the theatre. You just had to be there. In the entire 48 hours, I never once heard anyone complain, never one heard anyone say no--not aplaywright, not a director, not an actor, designer, techie, producer, not anyone! Instead, all of us were ready, willing and able, plus we strove to stay good humored, interested and inventive. There just wasn't time for any bullshit or attitude. Everyone had to focus on doing her/his job and trust that everyone else would do the same. So the collaborations that resulted in 16 new plays were adventures in everybody staying focused and letting go. It should ever be thus. Amen. *** Mary Lathrop is a playwright who lives in Seattle. Her plays include HELL ON WHEELS, A BRIS IS STILL A BRIS, THE URN OF DREW, TABLE STAKES; NO LIMIT and THE VISIBLE HORSE, which was presented at the 1996 National Playwrights Conference (the O'Neill). Recent productions include DREAMS OF BABY at the Equity Library Theatre in Chicago, ONE MAGIC MOMENT at the HAGACTS ''00 One Act Festival in Denver, and THE SIX BASIC RULES at Union Garage in Seattle. The Playwrights Studio Theatre's 1999 production of MENSTRUATING WAITRESS FROM HELL was picked one of the ""gems"" of their 10 minute play festival by the Milwaukee Journal-Sentinel. THE EIGHTEENTH MITZVAH was awarded the 1999 Richard Hugo House New Play Prize. She is currently working on TALES FROM THE SALTMINES, a commission by A Contemporary Theatre in Seattle. You can visit her website at http://home.sprynet.com/~lathrop -------------------------------------------------------------------------------- THE PLAY'S THE THING The Good, The Bad, and The Ugly: Updating Shakespearean Plays (with apologies to the Bard and Clint Eastwood) You sit in a dark movie theatre. A swell of western music fills your ears. Your eyes behold a prairie vista as the camera sweeps over it. The orange, gold and red of the land seems to mix in with the sky. The next shot is the camera zooming in on a dusty street of a dried-up town. Two men stand at opposite ends of the street exchanging steel-eyes glances at each other, hands poised on their guns. Clint Eastwood's familiar squint appears on the screen. He pulls the half-smoked cigar from his mouth as you expect one of Clint's "Make My Day" lines, but instead he looks straight into the camera and says, "A horse! A horse! My kingdom for a horse!" Oh my God...he is doing Richard III...please someone get the smelling salts for Sir Ian McKellen! Ok...Ok...I have pulled Caprice from the keyboard...that whole idea of Eastwood's Richard III was too much for even me...now let saner minds type for a while. (Caprice stands gagged and growling in the corner!) The last semester at San Diego State University, Caprice and I took a class taught by Dr. A.C. Harvey on dramaturgy. As part of the course work we had to take a Shakespeare, or other classic play, of our choosing from a designated list and "translate" it into a modern American context. The translation process, which most might think means literally translating the words of a play from its original language into another one, in this case involves taking a play from its original context and placing it within a context modern audiences find more accessible. This can involve keeping the text the same and placing the action within a modern context visually, or by adapting the text to our vernacular. Of our plays we chose one scene to illustrate the translation, Caprice's being the court scene from The Merchant of Venice and mine the persuasion scene from Macbeth. To begin the translation process we first had to analyze the play we were translating in depth to get a feel for the themes represented and power struggles. In addition to understanding important plot elements, we had to ask ourselves questions such as "What color is this scene?" and "What flavor ice cream is this scene?" These kinds of questions helped us explore various ways the plays could be translated. Caprice translated The Merchant of Venice courtroom scene into a production for Court TV and I translated the persuasion scene into a California Goth gang (with a bit of a Lost Boys feel) and the scene occurred inside a cave on the beach. These were only some of the ideas that were generated by asking questions of the plays that stirred the senses. Caprice and I will, in this first part of three, give examples of some "good" film translations of Shakespeare plays. The following two parts of this series will cover the "bad" (films that have some great ideas, but not perfectly executed) and the "ugly" (don't even bother to rent these unless you want a good laugh). In the first part many of these translations occurred by asking many of the same questions mentioned above. The first translation we will talk about is Sir Ian McKellen's thought-provoking Richard III, in which he translates the play to Europe in the 1930s, allowing him to make not-so-subtle comparisons between Richard III and Hitler. The second translation is Julie Taymor's Titus, in which, through visual statements alone, she seems to be asking the question "What if Rome never fell?" The final production we will discuss is an example of changing the text to fit a modern context in John Turturro's mob version of Macbeth called Men of Respect. All three productions are excellent examples of how the Bard's work can be brought into a modern perspective without losing its original integrity. (Psssttt....Caprice is loose again...and has taken control of the keyboard) There are many film versions of Richard III, from a rediscovered silent version to the famous Laurence Olivier film, but of all of them Sir Ian McKellen's version stands as one of the finest examples of Shakespeare on film, whether as a "translated" production or not (that is until we discuss Titus later...which is the best Shakespeare on film ever [Caprice's editorial comment of course]). Without going into a length diatribe about the obvious parallels between the nature of Richard III and Hitler, it is enough to say that McKellen recognized that monsters have existed throughout history. Both men set out to accomplish a goal: total domination and possession of the world. Both men were ruthless in their attempts to accomplish that goal. And both men were destroyed by that same ambition to reach that goal. By overlaying the Shakespearean play with the imagery of Nazi Germany, in a somewhat disguised manner, McKellen reveals the subtle commonalities between the two most notorious archetypal villains of history. (Ha ha!...The keyboard is mine once again! Actually, Caprice gave it up to go smoke.) In a video made by Sir Ian McKellen titled On Acting Shakespeare, he discussed the decision an actor must make regarding soliloquies. He states that the soliloquy can either be an internal monologue by the character or a comment made directly to the audience to let them into the mind of the character. In Richard III, McKellen makes the choice in Richard's famous soliloquy which begins "Now is the winter of our discontent," to speak directly to the audience (camera) while using the restroom. It is an extremely effective technique used throughout the film to give the audience an insight into the mind of a psychopath. With this approach to the soliloquy and other key moments in Richard's character, McKellen goes against traditional performances of the role. Olivier's performance typifies the technical expertise at delivering the language, but doesn't lend as much insight into the character as McKellen's groundbreaking approach. McKellen's perfect performance doesn't hurt the effect from chilling the viewer to the bone. (Smoke break is over...Caprice is back to talk about THE BEST SHAKESPEARE ON FILM now...) If you have not seen Julie Taymor's film version of Titus, then you must also rank among those who have never seen E. T. or Star Wars...shame on you if you love Shakespeare and have missed this one. But redemption draweth nigh...in a biblical sense...because it is available now on DVD and video. Although Shakespeare's play Titus Andronicus is brutal, bloody and ruthless, Taymor turns it into a visual spectacle full of greed, revenge, passion and family loyalty. Yes, those brutal scenes are there but it is the respectful way in which she films the events that raise it from slash and gore to an art form. For example, when Lavinia is savagely raped and mutilated by Tamora's sons, Taymor places Lavinia on a tree stump and the branches have become her hands, evoking an Edward Scissorhands empathy for her plight. But enough of my bragging about an excellent film...why does this one film stand so high above other translations? The opening sequence of Titus causes your jaw to drop. Taymor has an excellent sense of movement, color, and sound that gives the viewer an insight into the world of the play before a line is uttered. Traditional images of Rome are evoked through costume and the movement of the soldiers, but then suddenly a command comes riding in on motorcycles and shatters your illusions about where this will take place. I found myself thinking (yes, Rebecca's turn once again) that this is what the world would look like if the Roman Empire never fell. The poster for the film (proudly displayed in Caprice's bedroom) gives the tag line "The fall of an empire, the descent of man." The music used ranges from jazz to heavy metal to evoke the anachronistic elements of her production. She does not set a specific time or place, but the idea of the greatness of Rome continuing for centuries. And yet with all of these changes, she remains true to the text, capturing Shakespeare's play in a world of "what if?" A must-see for any Shakespeare enthusiast. Ok, now Rebecca's turn to talk about one of her favorite Shakespeare translations of all time. Of course, it is a production of Macbeth (Rebecca's favorite play of all time). John Turturro's Men of Respect is a true "translation" in that the text is changed as well as the setting. Turturro sets his character, Mike Batacca (MB emblem on his case of daggers), amongst a heated battle for supremacy in the world of the mob. His ambitious wife (played by his real-life wife Katherine Borowitz) charms the mob boss in their home/restaurant as he declares his son as the heir to his mob empire. Although the text has been changed to ease the translation to the mob, Men of Respect remains closer to the spirit of the play than many traditional productions. The film follows the Macbeth script scene-by-scene, and in many cases, keeps integral lines (i.e. "Come on now, it's done" Lady Macbeth says during her sleepwalking scene). The witches were three (two men, one woman) psychics in an apartment in New York that Macbeth and Banquo run into while escaping from some unfriendly thugs. My personal favorite is in the persuasion scene (where Lady Macbeth is strongly assuring him the murder is the best way to gain the throne) I anxiously awaited the lines referring to the baby that had died ("I have given suck, and know how tender 'tis to love the babe that milks me. I would, while it was smiling in my face, have pluck'd my nipple from his boneless gums and dash'd the brains out had I so sworn as you have done to this!"). I was not disappointed. Borowitz declares that she knows what it is like to have killed for him, and insinuates that she has had an abortion in the past "because it was not the right time." This remained so true to the original spirit of the text, even I was impressed. Although Men of Respect is an excellent translation into a context for a modern American audience, there is one element missing that can only be gained from the original text. Though it stays close to the format of Macbeth, Men of Respect lacks the poetry that makes Macbeth great. One of the great insights into Macbeth's character is the way he uses language. The difference between the way he speaks and the way Lady Macbeth speaks also gives insight into the similarities and extreme differences in their characters. I was terribly disappointed (one of the only moments this occurred, mind you) when Turturro discovers his wife's body. He does grieve visually, and it breaks your heart, but this does not replace "She should have died hereafter, there would have been time for such a word," my favorite non-Lady Macbeth speech in the play. (Caprice gets to finish with a "translation" of a line from Rebecca's favorite play..."Who would have thought the old girl to have so many words in her..." to which Rebecca replies...oh wait, Shakespeare never used those kind of words and Caprice should run for cover.) The films exemplified in this article are by no means the only good examples of Shakespearean translations. And we beg you to disagree with us...we love spirited discussions. But...believe me...there are worse examples...that we will cover in the next two articles when we discuss the "bad" and the "ugly" (can you say Love's Labours Lost and we would not blame anyone who missed this one!). Stay tuned next time for Hamlet (the extreme definition of the melancholy Dane...and we don't mean Claire Danes...a film that gives new meaning to the famous "To be or not to be" speech) and Romeo and Juliet, not to be confused with Romeo Must Die. And in part three we will subject you to the horrors of Kenneth Branaugh "putting on the Ritz" and we don't mean crackers...pass the Cheese Whiz please! This article has been a presentation of the Sick and Twisted Minds of Caprice Woosley And Rebecca Johannsen Who are still begging forgiveness at Shakespeare's grave. Ahem Caprice and Rebecca wish to inspire lively discussion, heated arguments, bar brawls and anarchy in the Shakespearean world with their commentary about the various productions that have been translated to film. Please write (e-mail links below) and share with us your own "good, bad and ugly" choices of Shakespeare on film. We are tough broads...we can take it! -------------------------------------------------------------------------------- VOICES IN CONTEMPORARY THEATRE THE UPLIFTING PORTRAIT OF AN AMERICAN HEROINE In the Footsteps of Moses: The Story of Harriet Tubman Animated Theaterworks, Inc., a New York based theatre production company, presents an uplifting portrait of an American heroine this month; In the Footsteps of Moses; The Story of Harriet Tubman. The play, written by TRE's own Willis-Whyte and directed by Elizabeth Kleinhans, takes a look at a choice all of us must make at some point in our lives: do we cling to the past and accept life as it is, or take a risk and move forward to the promise of the future. Created as part of the Images of Nineteenth Century American Women series, this is the story of one of America's most illustrious women; Harriet Tubman, an infamous conductor on the Underground Railroad. This production is a must see for theatre-lovers, for women, and for students of American History. "I am delighted that Animated Theaterworks is producing this play for New York audiences," says Animated founder, and businesswoman, Elysabeth Kleinhans. "Ms. Tubman is our American 'Joan of Arc.' Thousands of African-American slaves owe their freedom to her daring exploits. Most people don't realize that she also served as a nurse, a spy and a scout for the Union Army in South Carolina (during the Civil War) and in one campaign, she led 750 slaves to freedom!" February is designated as African-American History month and March as Women's History month. Under Kleinhans' direction, Animated Theaterworks intentionally chose this time frame to present "Footsteps" so that Harriet Tubman would be celebrated for her contributions in both areas of American History. March 10th marks the anniversary of Tubman's death in 1913, and so on March 10, 2001, Elysabeth Kleinhans will host a benefit performance and champagne reception, to mark the occasion. Proceeds from the event will go to the Harriet Tubman Home in Auburn, New York. Said Kleinhans, "What better way to honor Tubman's memory than to support a museum that chronicles her life. It is also our way of giving thanks to the African-American woman who was the inspiration for this play." About the Writer: Willis-Whyte, is an award winning director, writer, and actress. She has performed off-Broadway in films and on television. Named to Who's Who in American Colleges and Universities and Who's Who in American Advertising, Willis has published two books of poetry, Dancing With Demons and The Last Train Home. Willis is the creator of, Images of Nineteenth Century American Women, an integration of historical biographies, original poetry and original portraiture by Nancy V.A. Hansen, which is scheduled for publication in the coming year. She is currently touring New England and the Carolinas with a staged reading of this project. Willis, who recently concluded a one year project as the on-air host for Thoughts On Food, a weekly radio show, is the author of three one-act plays which commemorate the lives of Susan Brownell Anthony (An Independent Spirit), Clara Harlowe Barton (Angel of the Battlefield), and Anne Francis Kelly a member of the only all girl cavalry unit serving the Confederacy during the American Civil War (Side Saddle Soldiers). She has also just completed a one-act play entitled "i am the face of AIDS," which addresses the causes and consequences of this dread disease. "Footsteps" will be performed at the Chernuchin Theater, on West 54th Street in NYC, from February 22 to March 18, 2001. The play will preview on February 20 & 21, 2001. Evening performances begin at 8pm and matinees will be Sundays at 3pm. Tickets for In The Footsteps of Moses; The Story of Harriet Tubman, are $10 for the preview performances on February 20 & 21. Performance prices February 22 through March 18 are $20 per person; students and groups of 10 or more are discounted at $10 each (through March 5). Seating is limited, for reservations, please call 212-247-3826. And Speaking of women and the stage... Henry, His Sister, the Devil and the Divine.... What do they have in common? A lot more than meets the eye! Trinity Repertory Company, in Providence, RI, is producing two new plays this season in its traditional "world premiere" slot -- one of them is John Belluso's Henry Flamethrowa. Based on the true story of a woman in Worcester who was thought to have "healing powers" (she too was in a coma) it amplifies, questions and on occasion nullifies everything the Catholic Church professes to hold dear. John Belluso's Henry Flamethrowa won this year's prestigious Blanche and Irving Laurie Foundation's Theatre Vision Fund Award for Best New Play by an emerging playwright, an honor previously awarded to Master Class and Proof; after last nights performance, I can see why. The play is a liberal and congruous drama; the story of a unique, powerful, emotional, and intellectual struggle. Filled with rage, deceit, and confusion it touches on the intrinsic and the preternatural. Peter, Henry's father has constructed a thinly vailed life for himself and his daughter Lilja (who was injured in a swimming pool accident). Living out a fantasy which includes Fleetwood Mac and a faithful, loving (albeit dead) wife, his world shatters when he is confronted with the reality of his circumstance -- he tells us that "his heart is homeless". Peter is portrayed, by veteran resident Trinity company member Fred Sullivan, Jr., (more than 60 roles in 18 seasons -- I'm exhausted just thinking about it). Sullivan brings to the part a well balanced combination of erratic behavior and grounded dogma, injecting just a smattering of comic relief -- whenever possible. Lilja, the daughter, lies (off stage) in a coma. We are reminded of her existence by the sporadic sound of her resuscitator, which fills the theatre. The girl is considered, by some, a living saint. Visited, every Thursday by hundreds of people, from all over the country, seeking her miraculous healing powers, she rests comfortably (in her own bedroom). She is on exhibition behind a plate glass window; installed for her privacy. Is she is the instrument of the Blessed Virgin's divine mercy, or just a victim of circumstance and her father's devices? Henry Rhamelower (Flamethrowa is his self selected hacker name), the son, is facetiously known as "pillow boy"; a nickname given him by his classmates. Toting bed pillows from room to room at school, he believes that -- classroom chairs are painful and hamper a student's ability to learn. His pillows seem to make life and learning more bearable, for him, in a classroom at any rate. At home he resides alone, in a world of his own creation, immersing himself in books, and his VCR (his father wonders what a teenage boy could possibly need a VCR in his room for -- a comment which evokes peals of laughter from the audience). In addition, Henry has his laptop which he uses to commune with someone or something he addresses as "dear devil"! Michael Esper's stage debut, at Trinity, can be called "a triumph"! He is mesmerizing as the teenage Henry -- complete with all the foibles and compulsions that can be attributed to his generation. He commands the attention of audience members and never resorts to the "tricks of the trade" often seen on stage. Is Henry the instrument of God's terrible vengeance? Or is it all just some evil hoax perpetrated by the devil himself and cultivated (as a means of self preservation) by Henry's father; who seems to be standing at Heaven's Portal terrified of his own mortality? Unfortunately, for this reviewer, award-winning guest artist Joanna P. Adler as Beth (a journalist determined to expose Lilja's miracles as fraudulent) was the weak link in this ensemble. Her performance seemed pretentious and unmotivated. Her stage presence was non-existent and her ability to remain in the moment, less than believable. Hopefully, she was just having a bad hair day! A Rhode Island native, Belluso has written a potent script. It is an admirable work which stands on its own as a verbal assault on the Catholic Church, and an intellectual foray into spirituality, education, fraud, fantasy and enlightenment. His appointment as the playwright-in-residence at Trinity Rep. is through the National Endowment for the Arts Theatre Communications Group Residency Program for Playwrights. This award is an honor shared by only twelve playwrights and theaters in the country. Directed by Lisa Peterson, a resident director at the Mark Taper Forum, Henry Flamethrowa is cleverly staged (as long as you are not sitting on the extreme sides of the theatre. My seat gave me some long and frustrating views of the backs of the actors -- and made it difficult to hear many of the words which are so important to this script). Lisa's credentials are impressive though -- she has directed a number of acclaimed world premieres, both off-Broadway and regionally, receiving an Obie Award two Drama Desk nominations. The design team includes Trinity newcomers Rachel Hauck, who should be applauded for her outstanding "flame red" set and Mimi Jordan Sherin, who's excellent lighting plan both supported and facilitated the story. Darron West, another newcomer is the sound engineer for this production, the three join Trinity's resident costume designer William Lane. There was one more thing I thought I'd mention -- the Attar of Roses that was used to scent the theatre, in the last scene, was a bit of over kill -- some audience members felt overwhelmed by its pervasive aroma! I thought "smell-o-vision" was passe´. Trinity Rep has a strong commitment to the development of new works and has presented 44 world premieres in its 37-year history. The Providence New Play Festival, now in its 5th year, gives southern New England audiences increased exposure to new theater works and up-and-coming playwrights. Several plays "discovered" in past Festival seasons (Fall, A Preface to the Alien Garden, A Girl's Life, Ambition Facing West, and more) have gone on to productions around the country. *** Award winning Director, writer and actress, Willis-Whyte has performed Off-Broadway, in films and, on television. Named to Who's Who in American Colleges and Universities and Who's Who in American Advertising, Willis has published two books of poetry and is also the author of three one-act plays based on the lives of Susan B. Anthony, Clara Harlowe Barton and Anne Frances Kelly; a member of an all girl Confederate cavalry unit. Her latest book, Images of Nineteenth Century American Women, which integrates staged readings of historical biographies, original poetry, and art, is scheduled for publication later this year. A past member of AFTRA, Actor's Equity, and SAG, Willis (who is) a native New Yorker, now makes Providence RI her home. -------------------------------------------------------------------------------- CYBERTHEATRE MONTHLY Antigony http://www.theconnection.org/archive/2000/12/1221b.shtml American Repertory Theatre's production of Antigone has left a tremendous legacy in the form of a discussion of the greek classic on the National Public Radio program "The Connection" with Harvard Classics Professors Gregory Nagy and Charles Segal and A.R.T. Associate Artistic Director Francois Rochaix. The IRS Guide to Entertainment http://www.irs.treas.gov/prod/bus_info/mssp/1040.html It's that time of year, and as we all stare down that stack of 1099s and break the seal on our copy of TurboTax there is another online source of information about whether you can take that deduction - it's Showbiz specific and surprise, surprise, it's provided by the IRS itself. the IRS is getting more and more sophisticated when it comes to training its auditors about how specific industries operate. The initiative is called the "Market Segment Specialization Program" (MSSP). This is an ongoing effort by the IRS to arm examiners with detailed information on common practices, standards and ratios for a host of industries. The idea is that if the examiner knows how businesses in an industry typically operate, he or she can more quickly and thoroughly audit a specific individual or company within that industry. These "Audit Techniques Guides," as the IRS calls them, aren't little leaflets or one-page summaries - they can run to 30 or more pages of single-spaced type. By reading one, you can learn a lot about the approach an auditor may take in doing a detailed examination of your return. The detail is amazing. Consider this quote for the music industry: Interesting understated quote: "There are many checks and balances in the industry on income reporting, but some activities such as playing small clubs for the door receipts, love offerings at concerts and churches, and concession sales at the small locations, etc., present situations where income may go unreported." Here's the great thing about these guides: They're public documents. The guide to the Entertainment industry is linked above. It is a must-read for the self-employed actor, the freelance designer, and indeed for theatre owners themselves. Starbound http://www.geocities.com/Broadway/4131/ This personal Geocities site has a noteworthy host of resources for the beginning performer and amateur theatres Movie Musicals: From the Stage to Screen http://www.geocities.com/TelevisionCity/Studio/8849/moviemusicals.htm Like the title says, examines what happens to a variety of famous musicals from Guys and Dolls to Evita to 1776, casting curiosities, songs that were added and dropped and the relative success of these changes, as they move from stage to screen. -------------------------------------------------------------------------------- LETTER FROM LONDON Great Expectations: What we're looking forward to in 2001 The Independent's theatre critic, Paul Taylor, names five premieres he is most looking forward to Tantalus It lasts over 12 hours, it was 15 years in the writing, it involves two of the giants of English theatre (John Barton as writer; Peter Hall as director), and it took American money to bring it to the stage. Now this bracingly ironic retelling of the Trojan War story, embarked on an English tour, beginning at the Lowry in Salford in Jan and reaching the Barbican, London in May. Medea How many women would murder their own children to spite a faithless husband? More than you think. First seen in Dublin last summer, Deborah Warner's production of Euripides' play gives you a matchless sense both of the horror of this act and the tormented psychology behind it. It reunites the director with her favourite actress, Fiona Shaw, who brings a brilliant end-of-her-tether witto the role. Queen's Theatre, London Semi-Monde Never produced in his lifetime, this Noel Coward piece is a sophisticated, jaggedly glittering orgy of bisexuality. Philip Prowse gave the piece its world premiere in Glasgow in 1977, extending the three-year action to cover the period 1919 to 1939 and evoking a world of oblivious luxury. He directs it again now, with a succulent-sounding cast headed by Nicola McAuliffe. Lyric Theatre, London from 14 Mar A new play by Patrick Marber As yet untitled and the National Theatre tight-lipped about its content, But any new play from Marber - the most gifted heir of Pinter and Mamet and who, as author, director and actor, has proved himself such an all-round man of this art-form - is bound to be an event. National Theatre, London from June Jubilee Good to see new writing will be at the heart of the RSC's Summer Festival. Alongside premieres of work by Martin McDonagh, David Edgar and Peter Whelan, there's the prospect of a new Peter Barnes piece, Jubilee. This will satirize the whole Bard industry through a dramatisation of the cock-ups surrounding the first Shakespeare festival in 1769. Swan Theatre, Stratford,from 19 July Olivier Award Nominations 2001 The Society of London Theatre has announced the nominations for the 2001 Laurence Olivier Awards. The winners will be announced on Friday, February 23 at a ceremony in the Lyceum Theatre, London. The nominees are as follows: BEST ACTRESS Jessica Lange for LONG DAY'S JOURNEY INTO NIGHT at the Lyric Helen Mirren for ORPHEUS DESCENDING at the Donmar Warehouse Julia Ormond for MY ZINC BED at the Royal Court Harriet Walter for LIFE X 3 at the Lyttelton Julie Walters for ALL MY SONS at the Cottesloe BEST ACTOR Sean Campion for STONES IN HIS POCKETS at the New Ambassadors and at the Duke of York's Michael Gambon for THE CARETAKER at the Comedy Conleth Hill for STONES IN HIS POCKETS at the New Ambassadors and at the Duke of York's Bill Nighy for BLUE/ORANGE at the Cottesloe Simon Russell Beale for HAMLET at the Lyttelton BEST SUPPORTING ACTRESS Gillian Barge for PASSION PLAY at the Donmar Warehouse Pauline Flanagan for DOLLY WEST'S KITCHEN at The Old Vic Catherine McCormack for ALL MY SONS at the Cottesloe Marcia Warren for IN FLAME at the New Ambassadors BEST SUPPORTING ACTOR Ben Daniels for ALL MY SONS at the Cottesloe Chiwetel Ejiofor for BLUE/ORANGE at the Cottesloe Douglas Hodge for THE CARETAKER at the Comedy Jason Watkins for A SERVANT TO TWO MASTERS at the Young Vic and now at the New Ambassadors THE BBC AWARD FOR BEST NEW PLAY BLUE/ORANGE by Joe Penhall at the Cottesloe DOLLY WEST'S KITCHEN by Frank McGuinness at The Old Vic LIFE X 3 by Yasmina Reza at the Lyttelton MY ZINC BED by David Hare at the Royal Court BEST NEW COMEDY COOKING WITH ELVIS by Lee Hall at the Whitehall HOUSE/GARDEN by Alan Ayckbourn at the Lyttelton/Olivier PEGGY FOR YOU by Alan Plater at the Comedy STONES IN HIS POCKETS by Marie Jones at the New Ambassadors and now at the Duke of York's BEST NEW MUSICAL THE BEAUTIFUL GAME music by Andrew Lloyd Webber, book and lyrics by Ben Elton at the Cambridge FOSSE conceived by Richard Maltby Jr, Chet Walker and Ann Reinking at the Prince of Wales MERRILY WE ROLL ALONG music and lyrics by Stephen Sondheim, book by George Furth, suggested by a play by George S Kaufman and Moss Hart at the Donmar Warehouse THE WITCHES OF EASTWICK book and lyrics by John Dempsey, music by Dana P Rowe based on the novel by John Updike and the Warner Brothers Motion Picture at the Theatre Royal Drury Lane OUTSTANDING MUSICAL PRODUCTION HMS PINAFORE by Gilbert and Sullivan at the Savoy SINGIN' IN THE RAIN based on the MGM film, original choreography by Gene Kelly and Stanley Donen, screenplay and adaptation by Betty Comden and Adolph Green, songs by Nacio Herb Brown and Arthur Freed, West Yorkshire Playhouse at the Olivier THE KING AND I music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, based upon the novel Anna and the King of Siam by Margaret Landon at the London Palladium THE MIKADO by Gilbert and Sullivan at the Savoy THE PIRATES OF PENZANCE by Gilbert and Sullivan in a new version by Joseph Papp, musical adaptation by William Elliott, as presented on Broadway by the New York Shakespeare Festival, at the Open Air BEST ACTOR IN A MUSICAL Daniel Evans for MERRILY WE ROLL ALONG at the Donmar Warehouse Jimmy Johnston for THE PIRATES OF PENZANCE at the Open Air Paul Robinson for SINGIN' IN THE RAIN at the Olivier David Shannon for THE BEAUTIFUL GAME at the Cambridge BEST ACTRESS IN A MUSICAL Nicola Hughes for FOSSE at the Prince of Wales Joanna Riding for THE WITCHES OF EASTWICK at the Theatre Royal Drury Lane Samantha Spiro for MERRILY WE ROLL ALONG at the Donmar Warehouse Josie Walker for THE BEAUTIFUL GAME at the Cambridge BEST SUPPORTING PERFORMANCE IN A MUSICAL Rosemary Ashe for THE WITCHES OF EASTWICK at the Theatre Royal Drury Lane Rebecca Thornhill for SINGIN' IN THE RAIN at the Olivier Miles Western for PAGEANT at the Vaudeville Taewon Yi Kim for THE KING AND I at the London Palladium BEST DIRECTOR Howard Davies for ALL MY SONS at the Cottesloe Michael Grandage for PASSION PLAY at the Donmar Warehouse Nicholas Hytner for ORPHEUS DESCENDING at the Donmar Warehouse Trevor Nunn for THE CHERRY ORCHARD at the Cottesloe and at the Olivier Ian Talbot for THE PIRATES OF PENZANCE at the Open Air BEST THEATRE CHOREOGRAPHER Peter Darling for MERRILY WE ROLL ALONG at the Donmar Warehouse Bob Fosse and Ann Reinking for FOSSE at the Prince of Wales Stephen Mear for SINGIN' IN THE RAIN at the Olivier Meryl Tankard for THE BEAUTIFUL GAME at the Cambridge BEST SET DESIGNER Bunny Christie for BABY DOLL at the Lyttelton and then at the Albery William Dudley for ALL MY SONS at the Cottesloe Rob Howell for THE CARETAKER at the Comedy Brian Thomson for THE KING AND I at the London Palladium BEST LIGHTING DESIGNER Howard Harrison for TO THE GREEN FIELDS BEYOND at the Donmar Warehouse and THE WITCHES OF EASTWICK at the Theatre Royal Drury Lane Mark Henderson for ALL MY SONS at the Cottesloe Paul Pyant for HAMLET at the Lyttelton Hugh Vanstone for THE CHERRY ORCHARD at the Cottesloe and THE GRADUATE at the Gielgud BEST COSTUME DESIGNER Gregg Barnes for PAGEANT at the Vaudeville Alison Chitty for REMEMBRANCE OF THINGS PAST at the Cottesloe Bob Crowley for CRESSIDA at the Albery and THE WITCHES OF EASTWICK at the Theatre Royal Drury Lane Roger Kirk for THE KING AND I at the London Palladium OUTSTANDING ACHIEVEMENT IN OPERA Gerald Finley for his creation of the leading role in English National Opera's world premiere of THE SILVER TASSIE at the London Coliseum The Kirov Opera for its unforgettable season at the Royal Opera House Mark-Anthony Turnage (composer) and Amanda Holden (librettist) for creating THE SILVER TASSIE (English National Opera), a magnificent new work for a large company on an epic scale Stefanos Lazaridis for his designs for The Royal Opera's GREEK PASSION and English National Opera's daring Italian Season, both demonstrating a consummate mastery of theatrical technique allied to a powerful creative vision BEST NEW OPERA PRODUCTION English National Opera's PELLEAS AND MELISANDE at the London Coliseum English National Opera's THE CORONATION OF POPPEA at the London Coliseum The Royal Opera's THE GREEK PASSION at the Royal Opera House The Kirov Opera's WAR AND PEACE at the Royal Opera House OUTSTANDING ACHIEVEMENT IN DANCE Matthew Bourne for his concept and dramatisation of THE CAR MAN at The Old Vic Deborah Colker for her choreography of MIX at the Barbican Robert Parker for his performance in Birmingham Royal Ballet's SHAKESPEARE SUITE at the Royal Opera House Michael Revie for his performance in Zurich Ballet's MOZARTINA at Sadler's Wells BEST NEW DANCE PRODUCTION NDT2's INDIGO ROSE at Sadler's Wells Compagnie Montalvo-Hervieu's LE JARDIN IO IO ITO ITO at the Barbican NDT2's MELLANTID at Sadler's Wells Zurich Ballet's MOZARTINA at Sadler's Wells -------------------------------------------------------------------------------- RUBIN'S CORNER The Beautiful Game American responses to Andrew Lloyd Webber's new West End musical, "The Beautiful Game," many be immaterial. Putting the show's merits aside, its subject matter alone makes it a long shot for Broadway. The musical explores the way the Protestant-Catholic conflict gradually constricts and ultimately destroys the lives of a handful of young football players. To U.S. audiences the beautiful game is baseball, football, and soccer. Troubles in Northern Ireland are merely one among many world conflicts the Clinton administration has been doggedly mediating for the nearly a decade. If "The Beautiful Game" was a brilliant piece of musical theater, these obstacles might be surmountable, but this ambitious and admirable show gradually sags and stumbles under the weight of its flaws, chiefly a simplistic and sermonizing approach. The musical open with a somber but arresting flourish as the softly lite stage gradually fills with lad whose idle kicking of a can takes on the lyricism of dance. The chorography of Meryl Tankard, one of several collaborators on the show culls not from showbiz but from the world of ballet and opera, is refreshingly inventive, using the vocabulary of sport to express the energies and aggressions of youth that, as the show proceeds, will be channeled more destructively. Joined by their admiring female supporters, this ragtag band attired in the garishly realistic colors of Joan Bergin's costumes, launch into the show's title tune, an authentically rousing anthem that displays Lloyd Webber's ability to craft melodies that lodge in the heart or the mind almost against our will. In the following senses we're introduced to the players whose personal and political fortunes will be followed through to their almost universally grim ends. Much has been made in the British press of the teaming of Lloyd Webber with Ben Elton, the novelist, playwright and sitcom writer who supplies the shows book and lyrics. This surprising union of the "Tory peer and the left-wing standup comedian," as one commentator put it, is seem as evidence that Lloyd Webber is looking in new directions for inspiration. In any case the cheeky comic voice that is Elton's greatest contribution to the collaboration must recede into the background fairly quickly The staging only serves to emphasize the show's sermonizing tone. Director Robert Carsen, an opera specialist places the action in a completely black no man's land under a blasted proscenium. The show's authors have not created characters with enough flesh on heir bones to make these familiar issues to us afresh. Meanwhile, back on our side of the pond... The Atlantic Theater Companys Acting School continues its childrens season with David Mamets REVENGE OF THE SPACE PANDAS directed by Atlantic Theater Company member Robert Bella to be presented on three Saturday mornings at 10:30AM: February 17, February 24 and March 3 at the Atlantic Theater Company, 336 West 20th Street (between 8th & 9th Avenues). REVENGE OF THE SPACE PANDAS, or Binky Rudich and the Two Speed Clock, is a charming play about Time Travel and Space Pandas for children and adults. The main character, Binky Rudich, invents a Two Speed Clock which allows him to travel through Space and Time. Binky and his best friends, Vivian and Bob The Sheep, spin off the earth and land on the planet Crestview, which is ruled by The Evil George Topax and his army of Space Pandas. Binky, Vivian, and Bob the Sheep must thwart Topax, escape Crestview, and get back to Waukegan, Illinois in time for tuna casserole. Robert Bella is a founding member of the Atlantic Theater Company and has worked on over 100 plays for the stage and radio as an actor, director, writer and producer. He also served as Atlantics Associate Artistic Director and Executive Director of the Atlantic Acting School. Robert produced and directed the feature film, Colin Fitz which had its world premiere at the 1997 Sundance Film Festival. The film went on to receive critical acclaim as well as numerous awards at film festivals around the country. Roberts theatre directing credits include Nigel Williams Class Enemy, David Hares Knuckle, Sam Shepards True West, Shakespeares Julius Caesar. Carol Churchills Mad Forest, Teresa Rebecks Spike Heels and Arthur Millers The Crucible. As an actor, Robert has appeared in the Atlantic Theater Company productions Boys Life, Dangerous Corner, Shaker Heights, Nothing Sacred, The Virgin Molly, Five Very Live and Three Sisters. His numerous screenplays include The Passion Dream Book and he has written a stage adaptation of the film, Stand and Deliver. The Atlantic Theater Companys educational outreach program for children is in its second season. Last Spring, they produced The Poet and The Rent and The Frog Prince, both by David Mamet, and this past fall, The Adventures of Por Quinly by Quincy Long. Both runs were extended and found an audience that was eager to bring their children to the theater for quality plays that would entertain all ages. The Company also does special performances for the public schools, which are part of the Atlantic Theatre Companys Educational Outreach program and serves an important community function. The public performance dates are: Saturday, February 17th at 10:30am Saturday, February 24th at 10:30am Saturday, March 3rd at 10:30am Tickets for REVENGE OF THE SPACE PANDAS are $10.00 for adults and $5.00 for children under 12 and are available by calling (212) 691-5919. (Please note that Revenge of the Space Pandas is playing in addition to the Company's production of Force Continuum.) ROUNDABOUT THEATRE COMPANY PRESENTS NOEL COWARD'S DESIGN FOR LIVING Roundabout Theatre Company (Todd Haimes, Artistic Director) presents the Broadway revival of Noel Coward's DESIGN FOR LIVING at the American Airlines Theatre (227 West 42nd Street). DESIGN FOR LIVING begins previews Friday, February 16th, 2001; with an opening night scheduled for Thursday, March 15th, 2001. Directed by Joe Mantello, DESIGN FOR LIVING stars Alan Cumming (Otto), Jennifer Ehle (Gilda), Dominic West (Leo) and features Marisa Berenson (Grace), John Cunningham (Ernest), T. Scott Cunningham (Henry) and Jenny Sterling (Miss Hodge). DESIGN FOR LIVING is a witty, sophisticated comedy that takes a trio of decadent artists on a scintillating romp through London, Paris and New York in search of true love in the year 1932. Otto the painter, Leo the playwright and Gilda, the impulsive beauty who decorates interiors, are all in love - with each other. When the burden of Otto and Leo's battle for Gilda's attentions becomes too much for her to bear, she bows out on them both and marries a dependable art dealer. Two years later, Gilda is met by Otto and Leo who show up on her doorstep. Noel Coward's sensuous menage a trois comedy was written in 1932, and was to become one of Noel Coward's greatest successes. The original production of Design For Living opened on Broadway on February 6th, 1933 at the Ethel Barrymore Theatre. The production starred Alfred Lunt as Otto, Lynn Fontanne as Gilda and Noel Coward as Leo who also directed the play. Design For Living was revived at The Circle In The Square Theatre on June 20th, 1984. The revival production starred Jill Clayburgh as Gilda, Raul Julia as Leo and Frank Langella as Otto, directed by George C. Scott. Design For Living will play Tuesday through Saturday evenings at 8:00 p.m. with Wednesday, Saturday and Sunday matinees at 2:00 p.m., with the following exceptions: Early 7:00PM curtains on February 20, 21, 22, 23 and March 13, 14, 16, 17; 7:30PM Sunday evening performance on February 18; there is no performance on March 8. Tickets range from $40-$65 and are available by calling Roundabout Ticket Services at 212-719-1300 or at the box office at the American Airlines Theatre at 227 West 42nd Street. www.roundabouttheatre.org -------------------------------------------------------------------------------- SUPPLEMENT AN INGENIOUS, INTELLIGENT, STREAM OF CONSCIOUSNESS! The Sound And The Fury Is Re-staged at Perishable Theatre The theme of the individual in society is ingeniously portrayed in William Faulkner's novel, The Sound And The Fury; but it does not (in some instances) translate well to the stage. I suspect that unless you have read the book, there's very little chance that you'll be able to follow the story line. Now don't get me wrong, that doesn't make it a bad play, just a little difficult to get a grip on -- if... you haven't read the book! In fact, Perishable's Artistic Director Mark Lerman suggested (immediately prior to the curtain -- metaphorically speaking -- going up) that it would be appropriate for audience members to read the Cliff Notes "which are conveniently located in the lobby," during intermission and/or following the play -- I should have known right there and then I was in for a challenge! In Erik Ehn's adaptation, just as in the novel, individual family members illustrate the varying ways our search for self-esteem can get out of whack. The well-crafted script incorporates stream-of-consciousness style; abnormal speech patterns, verbal capitalization, and imagery; as well as acrimony. It is the story of the decline and fall of an aristocratic Southern family called Compson; it is told by four different narrators. O.K., let's get started: When you have six (albeit good) actors playing thirty roles -- yes Virginia, it's bound to be a bit confusing -- but I must say as an ensemble they were up to the challenge! Now, the family tree grows as follows: "Damuddy" (the grandmother who has just died), Mother (AKA Miss Caroline -- I think), Father (AKA Jason Compson, Sr.), and Uncle Maury Bascomb (mother's neer-do-well brother) that's the first generation -- well, sort of. Then there's Maury Compson, not an uncle; at least not yet (he becomes Benjy -- why? Because Maury is not a good name for someone like "him"), there's Caddy (who has two, or is it three, gentlemen callers), Male Quentin (a bit obsessive-compulsive), and Jason (who was named after his father -- at least that's what I think I remembered from the book). Caddy gives birth to an illegitimate daughter which she names after her brother Quentin (we are duly suspicious that brother Quentin might just be the father of her child -- but then we come to realize that the father is in fact Dalton Ames, one of Caddy's disreputable beaus). There are also several "black" servants in the house -- three of whom take care of Benjy at different times: Versh when Benjy is about three, T.P. when Benjy is roughly 15, and Luster, when Benjy is 33. Oh did I mention that there is also a "black" housekeeper named Dilsey (she's Luster's mother -- I think) The narrators, of the initial three scenes, are Benjy (who is both mentally and physically challenged), Male Quentin (who is suicidal), and Jason (someone we're supposed to feel sorry for -- who as far as I am concerned is nothing more than a thief, a liar and an all around shit)! The fourth narration is from the POV of Dilsey (the housekeeper) and Luster (a general, all-around go-fer whose primary responsibility is to make sure Maury/Benjy doesn't go outside the fenced in yard). Did I mention that the story jumps from one time frame to another? Well, it does -- but what the hey -- it's just another challenge for the actors and the director! Actually the audience can get a sense of the changing time line by paying particular attention to who is taking care of Benjy. Still with me? I hope so, cause now we're getting to the good stuff! Mark Peckham gives an astute, intelligent performance as Benjy -- his physical size combined with exactitude of timing made watching the retarded child/man struggle for each and every breath, almost unbearable. In the first scene (as the narrator) Benjy Compson, at age thirty-three, recounts the earliest events in the story. His language (as is he) is simple -- sentences short, vocabulary basic. Conveying this to the audience is profoundly difficult, Benjy has no concept of time or place-sensory stimuli change his mood and personality instantly and without warning. It's an actor's nightmare and dream come true, all at the same time -- it requires an actor to take risks, clearly Peckham is a very successful gambler! James Barton, as the second narrator, demands that we believe -- Quentin's emotions revolve around his sister Caddy -- and we do! He resents her promiscuity as it not only tarnishes the family name, but proves, without a doubt, that she doesn't love him. Convinced that he has no intrinsic worth, or purpose, Quentin seeks to become immortal; so sure is he that he can only make his life meaningful by ending it. Quentin's narrative takes place on the day he is planning to commit suicide, we observe him as he judiciously prepares for death. Barton's portrayal of this emotionally charged character is so moving it makes us believe that, in defending his sister's honor, Quentin is also defending the past, present and future of the South! Caddy, the little girl with dirty drawers, is deftly depicted by Kate Lester -- she emerges like a butterfly from a cocoon, making the passage from seven year old child to grown women seem effortless. Caddy treats her three brothers as if she were their mother. Her own mother is unstable, bed-ridden and sanctimonious. Her father is an abhorrent, misanthropic, alcoholic. These are not the parents a young girl dreams of. Lester is confident, centered and creative in her portrayal of this psychologically damaged young woman. As the female Quentin she verifies for us that "some things never change!" Then there's Jason -- Jason is a sadist, and through his grim humor he reveals just how far down the social ladder the Compson family has descended. Jason is also Caddy's brother and (female) Quentin's jailer. Anthony Estrella gives us insight, if not art in his portrayal of the under appreciated, put upon, didactic, Compson pseudo-patriarch. There is an unevenness about this young man's performance however -- something I think will disappear as the run of the play continues. He did have his moments though -- and it is obvious that he has talent; just beneath the surface, waiting to explode! Mark Anthony Brown as Luster exhibits the range of his talent as he easily traverses through the complex maze created by playwright Ehn. Brown shines in multiple roles, all of which he handles adroitly. Sylvia Ann Soares captures the spirit of Dilsey in both voice and body movement. She makes the transition from the Compson's housekeeper to Mother Compson with ease and agility -- leaving no doubt in this viewers mind that she had indeed transformed from one to the other! It is through arduous dialogue and deeply buried exposition that the playwright helps us discover additional Compson family facts -- that Quentin actually did drown himself, that Benjy is a "gelding," made so for some unspeakable act he perpetrated once, when he "got outside the fence!" We learn that Caddy'smarriage ended in divorce; but over the years she has continued sending money to her daughter, Quentin. We are told that Mother Compson has forbidden Caddy's name to be mentioned in the house, and she has refused to take the money her daughter sends each month. This is something which Jason finds ridiculous and so he provides his mother with duplicates of Caddy's checks (which she ceremoniously burns). In reality, Jason cashes the checks and pockets the money, giving little or none of it to Quentin, his niece. And that Quentin, in her final act of defiance, steals the money, Jason has hoarded, and runs off with a man. Ehn's adaptation also reminded me that there is a religious backdrop to this family tragedy -- it is set (in its present time) on Easter weekend 1928 -- something which leads me to question whether Benjy (at thirty-three) is a paradoxical, contemporary Christ figure - after all, wasn't Christ thirty-three when he was crucified? On another note, director Peter Wallace's interpretation of Ehn's script was insightful, energetic and captivating. His ability to create dramatic tension through the use of complex staging was achieved seemingly without effort. The poetic use of an all but bare stage, minimal props and very simple costume changes allowed Wallace and his production team to create an environment of unquestionable disintegration and decay. All was not perfect however and there were a few points at which even I balked -- the use of a puppet to represent (I think) Mr. Compson's view of "sawdust filled people," people whose lives have little or no meaning -- that almost got by me. Then there was the heart beat sound effect -- which turned out to be the dance class that was in session upstairs from the theatre! Oh well..... Amazingly staged, lit and costumed, The Sound And The Fury is certainly worth the price of admission -- even if you haven't read the book! Looks like Perishable has done it again! Bravo! -------------------------------------------------------------------------------- Copyright 2001, Mersinger Theatrical Services