review: Dael Orlandersmith’s “Black n Blue Boys/Broken Men”—a powerful one woman show that probes the lingering wounds of abuse— at Berkeley Rep, through June 24, 2012
From the moment the formidable Dael Orlandersmith steps onto the barren floor of the Thrust Stage at Berkeley Repertory Theatre, her intensity is hypnotic. In her new solo work Black n Blue Boys/Broken Men, which had its world premiere last Wednesday evening, Orlandersmith transforms herself into five young men of varying ages and races to take us on a dark journey that probes the lasting trauma of childhood abuse. Wearing simple loose-fitting black clothing and her signature braids loose throughout the entire 100 minute performance, Orlandersmith shifts her weight, changes her accent and seems effortlessly, from someplace within, to call forth five young men of varying races, origins and ages who tell their stories. Having lived through horrific abuse—recounted in graphic detail—the common enemy these young men now face is the power of history and painful personal experience. Adulthood, especially for children from homes with recurrent abuse and violence, presents varying levels of growth and regression. Orlandersmith takes us a journey riddled with turbulent emotional shifts as acts of self-sabotage and unintentional abuse undo significant gains. As these young men question the choices they’ve made and the patterns they’ve enacted, we can’t help but applaud the strength it took for Orlandersmith to give voice to their demons and the sliver of hope residing in the dark corners of their awakening self-awareness.
Orlandersmith made an indelible impression on local audiences in 2004 with Berkeley Rep’s production of Yellowman. That play, which was a finalist for the Pulitzer Prize, explored the complex dimensions interracial prejudice through the story of a young black couple. It was commissioned and originally produced by McCarter Theatre Center in Princeton, New Jersey and was the first play Orlandersmith wrote for other actors. Black n Blue Boys/Broken Men has the potential to be every bit as biting as Yellowman but it needs to be tightened and honed, much of which will happen during its road-test at Berkeley Rep. Orlandersmith pours every once of her soul into these young men, giving a raw, haunting and audacious performance.
Free 30-minute docent presentations about the show take place at 7:00 PM on the following Tuesday and Thursday evenings: June 5, June 7, June 12, June 14, June 19, and June 21, 2012. Docent talks are also held in three local communities: at the Orinda Library on Tuesday, May 29, 2012 at 7:00 PM, at the Lafayette Library on Wednesday, June 6, 2012 at 7:00 PM , and at the Moraga Library on Wednesday, June 13, 2012 at 2:00 PM.
Post-play discussions moderated by theatre professionals follow the 8:00 PM shows on Friday, June 8, 2012 and Tuesday, June 12, 2012.
Free tastings: Join Berkeley Rep for complimentary pre-performance tastings! Sample wine and other delights. New tasting events are being added all the time, so be sure to check back often!
- Friday, June 8, 2012: Urbano Cellars / 7pm
- Saturday, June 9, 2012 Dr. Kracker / 7pm
- Friday, June 15, 2012: Semifreddi’s / 7pm
Creative Team: written and performed by Dael Orlandersmith; directed by Chay Yew; designed by Daniel Ostling (sets), Anita Yavich (costumes), Ben Stanton (lights), and Mikhail Fiksel (sound)
Details: Black n Blue Boys / Broken Men runs through Sunday, June 24, 2012. The Berkeley Repertory Theatre (Thrust Stage) is located at 2025 Addison Street @ Shattuck, Berkeley, CA 94704. Tickets start at $29. Additional savings are available for groups, seniors, students, and anyone under 30 years of age – meaning discounted seats can be obtained for as little as $14.50. For tickets and info: http://www.berkeleyrep.org or phone 510.647.2949
For days, I’ve thought about Mark Rothko and Berkeley’s Rep’s red-hot Red. There’s a fascinating tension in the play that involves watching the thermodynamics of Rothko’s savage personality reel into something increasingly repulsive and tragic and experiencing another set of thermodynamics at play around the fragility of his creative process and his efforts to protect his artworks from the harshness of the world. And that’s the crux of Red—we are watching subtle transitions to other states of being unfold in man and art, right before our eyes. That’s complex and John Logan’s intimate two character play, under Les Waters’ powerful direction, could not be more engrossing. Originally scheduled to close on April 29, 2012, Berkeley Rep has just added 12 more performances of Red, so it will now run through May 12, 2012. If you’ve never before crossed the San Rafael-Richmond Bridge into Berkeley for art, this multi-Tony drama is worth the effort.
One of the best things about Red is its realistic set, designed by Louisa Thompson, on Berkeley rep’s intimate Thrust stage. It evokes the temporary New York Bowery studio that Rothko used from 1958-1960, when he painted 40 enormous murals for the swank Four Seasons restaurant in the newly completed Seagram Building on Park Avenue. The entire 90 minute play unfolds in this paint-encrusted studio, which is laid out with a ladder and a paint splattered wooden work table, old cans and jars full of brushes, rags and buckets of paint. Rear panels move to expose a wall of lights, designed by Alexander V. Nichols, that illuminate Rothko’s discussion of the importance of light and why natural light is insufficient for him. What the audience is privy to in this studio though is mainly talk—a running conversation between Rothko (David Chandler) and Ken (John Brummer), a young painter who is hired, just as the play begins, to assist Rothko, at the peak of his career, with whatever he wants.
It’s hard to imagine anyone who’d be a better fit for the role than Chandler, who so thoroughly embodies Rothko’s fierce narcissistic grandiosity and numerous insecurities that’s he literally frightening to behold. Rothko lectures, berates and prods Ken, insisting that he is not there to teach him, but, of course, an ego this large can’t resist sharing and what ensues is a passionate live course in art history and art appreciation for young Ken. The problem—Rothko needs to be in total control and reflexively shoots down anything anyone says. Ken, who serves almost a cipher/slave in the beginning, really begins to come into himself once he accepts Rothko’s dangerous invitation for discourse and begins to express some very interesting opinions despite Rothko’s limitations. Ken is John Brummer’s debut role with Berkeley Rep and he does a remarkable job. Ken is a character who’s got a fascinating side story of suffering and anguish that, by all rights, should leave him as screwed up as Rothko is but it doesn’t. One of the best exchanges between the two men takes places as Rothko brilliantly defends the old masters—Picasso, Matisse, Van Gogh, Michelangelo and Caravaggio against Ken’s list of new painters —Jasper Johns, Jackson Pollack, Frank Stella, Robert Rauschenberg. The art discourse is superbly crafted and avoids the perilous slip into clichéd references, instead getting into some meaty philosophical issues. I can’t recall one affirmational thing that Rothko says to Ken at any point in the play. About the highest compliment that Rothko pays him is expressed in the negative, telling him that he’s gotten all he can out of the studio experience and he needs to move on.
One of the Red’s highlights comes when the two men, working quite feverishly, prime a canvas with red paint, orchestrated to gorgeous classical music. This single very theatrical act of priming speaks volumes. As much as the play is about painting though, the act of painting isn’t really shown as much as it is inferred. In Mark Rothko’s studio, the magic of the artistic process is tightly controlled and there is a critical balance and tension that is sought—learning how far to go until everything changes and becomes something else. Rothko lives on that edge with both color and process and it seems the very best and worst moment is when a piece of art slips away from his grasp and develops into something that he can no longer predict from the ingredients and processes he used. When we look at a Rothko, in low light, there’s a magical sense of transition—shifts between solid, liquid and gaseous states of matter, shifting from one form of being into another—something not so easily understandable, but deeply recognized and felt. What Logan has done and these two actors beautifully embody is the subtle tipping points in human character too—Rothko tilts from pompous to sickening to borderline dangerous, very tragic, while Ken becomes more insightful, interesting, and attractive for who he is and what he’ been through.
A Rothko at auction now: Neither art nor theatre happens in a vacuum. On May 8 and 9, 2012, Christies New York will sell the Pinkus Family’s 1961 Rothko, “Orange, Red, Yellow,” which is roughly from the same period that John Logan’s play Red references. The 1961 painting was purchased by David and Geraldine Pinkus from the Marlborough Gallery in New York in 1967. Measuring nearly 8 feet by 7 feet, the painting is unusually large and of vibrant orange and reds. It is estimated to sell for $35 million to $45 million. Other abstract expressionist works from the Pinkus collection, from this period will be auctioned too, including works by Willem de Kooning, Barnett Newman, Jackson Pollock, Mark Rothko, Clyfford Still and Arshile Gorky. Several of these artists are mentioned in Red. Christies calls this “the most important and comprehensive ensemble of Abstract Expressionism ever to come to auction.”
Rothko’s have been making the news for years with their record-setting prices at auction. In early November, 2005, Rothko’s 1953 oil on canvas painting, Homage to Matisse, broke the record selling price of any post-war painting at a public auction, at US$ 22.5 million.
In May 2007, Rothko’s 1950 painting White Center (Yellow, Pink and Lavender on Rose), sold by philanthropist David Rockefeller, broke this record again, selling at US$ 72.8 million at Sotheby’s, New York.
More about John Logan: San Diego born (9.24.61) playwright, screenwriter and film producer John Logan grew up in California and New Jersey and attended Northwestern University in Chicago. He received the Tony Award, Drama Desk, Outer Critics Circle, and Drama League Awards for Red. It premiered in 2009 at the Donmar Warehouse in London and, in 2010, played at the Golden Theatre on Broadway, where it won five other Tony Awards as well. Logan is the author of more than a dozen plays, including Hauptmann and Never the Sinner. His adaptation of Ibsen’s The Master Builder premiered on the West End in 2003. As a screenwriter, Logan had three movies released in 2011: Coriolanus, Hugo, and Rango. His previous film work includes Any Given Sunday, The Aviator (Oscar, Golden Globe, British Academy of Film and Television Arts, and Writers Guild of America nominations), Gladiator (Oscar, Golden Globe, BAFTA, and WGA nominations), The Last Samurai, RKO 281 (WGA award and Emmy nomination), and Sweeney Todd (Golden Globe Award).
Red: Written by John Logan, Directed by Les Waters, Designed by Louisa Thompson (sets), Anna Oliver (costumes), Alexander V. Nichols (lights), and Bray Poor (sound)
Starring David Chandler (Mark Rothko) and John Brummer (Ken)
Run-time is 90 minutes with no intermission.
Details: Red runs through May 12, 2012 at Berkeley Repertory Theatre’s Thrust Stage, 2025 Addison Street at Shattuck, Berkeley, CA 94704. Tickets are $17.50 to $85 and can be purchased online at http://tickets.berkeleyrep.org/. To purchase seats by phone, or, for more information, call (510) 647-2949.
Pre-show docent talks: Tuesdays 4/10, 4/17 & 4/24 and Thursdays 4/5, 4/12, 4/19 & 4/26 @ 7:00 PM
Post-play discussions: Thursday 4/5, Tuesday 4/10, and Friday 4/20 @ 8:00 PM
Student matinee: Thursday 4/19 @ noon
Tastings: Fridays 4/6 (Dr. Kracker) & 4/13 (Urbano Cellars) @ 7:00 PM, Saturday 4/14 (Peterson Winery) @ 8:00 PM, and Sundays 4/15 (Stella Nonna Catering) & 4/22 (Martin Ray Winery) @ 6:00 PM
review: “Three Sisters” at Berkeley Rep–the long and the short of Sarah Ruhl’s new version, April 8- May 22, 2011
Clocking in at three hours, it takes time to sit through the Three Sisters which opened last week at Berkeley Repertory Theatre’s Thrust Stage…is it time well spent? Absolutely, but this engrossing 1901 Chekhov drama unfurls at a slow pace and it helps beforehand to know what you’re in for. Sarah Ruhl’s new version, which is based on a literal translation of Chekhov, and directed by Les Waters, comes together in a cohesive flowing whole. This is what the Berkeley Rep has built its reputation on. The language has been modernized, it feels light, but the production itself feels grounded early in the last century due in large part to Annie Smart’s lovely set, homey and historically accurate right down to the table linens, and Ilona Somogyi’s provincial Russian gowns and military costumes. In all, there is the feeling of stepping back into a living breathing portrait where people are initially hopeful but then gradually flounder having done little to build their own lives.
Ruhl, a MacArthur fellow and Pulitzer Prize finalist in 2004 for her play The Clean House , is known for tackling big ideas with lyricism. In the Three Sisters,the big idea, expressed so simply by one of the sisters, is “Life is a raspberry—one little bite and it’s gone.” Sitting through the play, we see these three lovely raspberries—the Prozorov sisters– bud, ripen and wither…suffering from spiritual malaise, boredom and endless yearning for the high life in Moscow which remains the distant dream, the excuse. And don’t we all, to some extent, live our lives with some aspect of inertia, dreaming of distant Moscow, but withering on the vine?
The story unfolds through the three Prozorov sisters–women at different stages of life, who all experience evaporated hope—Olga (Wendy Rich Stetson), the eldest is a good-hearted teacher and having peaked, believes herself to be a spinster. Irina (Heather Wood), the youngest, is fresh-faced, virginal, exuberant and optimistic. Throughout the course of the play she grows up and into womanhood. Her two suitors reflect the limited romantic options even for the young and beautiful. The most interesting sister is Masha (Natalia Payne), the pensive middle sister, smoldering with passion and anger, who has settled down into a reasonably boring married life with husband Kulygin (Keith Riddin). When the new military commander Vershinin (Bruce McKenzie) enters the scene, they begin a flirtation that over time evolves into love that is doomed. Payne plays Masha brilliantly with growing outbursts of frustration and bitter rage.
The most questionable performance is Emily Kitchens as Natasha, the scheming petit-bourgheoise bumpkin who seduces brother Andrei (Alex Moggridge) and marries up and into the household where she soon wields power. Kitchens (who you may recognize as Betsy/Lindsey from A.C.T.’s recent production of Clybourne Park ) plays the role with enough ambivalence to really peak my interest. Kitchen’s Natasha enters the play as an overly sweet and small-minded girl who means well and takes the mothering of her young Bobol to obsession, but she never really rises to the predatory cunning often associated with the role. In Act 3, where she unceremoniously speaks her mind about firing the elderly helper Afinsa (Barbara Oliver), she is as much dissatisfied with the lack of appreciation due her as the sisters are exhausted with the course of their own miserable lives.
Secondary character Vershinin (Bruce McKenzie) is heroic both in his vision and inured misery. (He has a wife who regularly attempts suicide and two young daughters that he worries over.) A real philosopher, his nonstop speculations about the future endure Masha and clearly voice Chekhov’s own concerns. (Act 1) “Our projects, our obsessions, theories big and important, the time will come when they won’t be considered important and we can’t imagine what will be vastly important.” A constant theme in Chekhov’s writing is the belief in progress–that life should be spent working hard in preparation for the future, for work and science would transform mankind, not the idle laziness of the gentry. One of the play’s richest moments comes in Act 2, as he and Baron Tuzenbach (Thomas Jay Ryan) sit and philosophize about their lives and their futures, and the quest for meaning and fulfillment. By Act 4, all hope is dashed. On the eve of the twentieth century and the cataclysm that awaits Russia, Moscow has eluded the three sisters and those little raspberries have hardened on the vine, a sad end to a slowly building series of disappointments and tragedies…but Chekhov would have it no other way.
Sarah Ruhl, Playwright
Les Waters, Director
Annie Smart, Scenic Design
Ilona Somogyi, Costume Design
Alexander V. Nichols, Lighting Design
David Budries, Sound Design
Julie Wolf, Musical Director
Rachel Steinberg, Dramaturg
Michael Suenkel *, Stage Manager
Cynthia Cahill *, Assistant Stage Manager
Amy Potozkin, Casting
Janet Foster, Casting
Jennifer Wills, Assistant Director
Noah Marin, Assistant Costume Design
Cast (in order of speaking):
Wendy Rich Stetson, Olga
Heather Wood, Irina
James Carpenter, Chebutykin
Thomas Jay Ryan, Tuzenbach
Sam Breslin Wright, Solyony
Natalia Payne, Masha
Barbara Oliver, Anfisa
Richard Farrell, Ferapont
Bruce McKenzie, Vershinin
Alex Moggridge, Andrei
Keith Reddin, Kulygin
Emily Kitchens, Natasha
David Abrams, Fedotik
Cobe Gordon, Rode
Details: The Three Sisters runs through May 22, 2011 at Berkeley Repertory Theatre’s Thrust Stage, 2025 Addison Street, Street (near the intersection of Addison and Shattuck Avenue), Berkeley, CA 94704. Performances: Tuesday-Sunday with several matinee performances. Tickets: $73 to $34. Box office: (510) 647-2949 or www.berkeleyrep.org . Parking: paid parking is readily available at over 5 parking garages as close as one block from the theatre. The Allston Way Garage, 2061 Allston Way, between Milvia and Shattuck, offers $3 parking Tuesday–Friday after 6 PM or all day on Saturday or Sunday when your garage-issued parking ticket is validated in the theatre lobby.