A.C.T.’s “Stuck Elevator,” a new musical-theatre-opera hybrid that will make you want to take the stairs, through April 28, 2013
In “Stuck Elevator,” which has its world premiere at A.C.T., Julius Ahn is Chinese deliveryman Guāng who gets stuck in an elevator for over three days and starts to hallucinate. The musical-theatre-opera hybrid runs April 4 – 28, 2013, at A.C.T.’s Geary Theater. Photo by Kevin Berne
If you’ve ever been stuck in an elevator, the memory never leaves you. In 2005, a 35 year-old Chinese-food deliveryman, Ming Kuang Chen, an immigrant from Fujian province who owed over $60,000 to human traffickers, was trapped in an elevator for 81 hours. Just after he had dropped off a $15 delivery, his elevator, an express lift, stalled out between the fourth and third floors of a 38 floor Bronx high-rise. Talk about being “boxed in”—despite a complete lack of food and water, he was terrified to push the emergency alarm because he was an undocumented immigrant and feared the consequences of being found by authorities even more. His 81 hour ordeal is the basis of Stuck Elevator, a gripping 81 minute musical hybrid by composer Byron Au Yong and librettist, playwright and hip hop poet Aaron Jafferis, which has its world premiere at A.C.T. (American Conservatory Theater). Obie Award winner director, Chay Yew (currently artistic director of Victory Gardens Theatre), transforms Chen’s traumatic ordeal into a mesmerizing musical of solo and ensemble performances. Ranging from opera to energizing doses of hip-hop, the music richly captures his physical and mental collapse as well as the symbolic journey of the displaced immigrant in our society. The songs, all sung in English, have Chinese supertitles and address his memories of his wife and son in China as well as his isolation and stress as an expendable worker in the U.S., omnipresent in our society yet virtually invisible as an individual. Stuck Elevator runs through April 28, 2013.
Young and Jafferis’s story opens with Chinese food delivery man, Guāng (光), standing at the elevator door, celebrating his good fortune at having made a $15 delivery which yielded a generous tip. He leveraged everything he had just to get to the States and all he earns isn’t enough to make even a small dent in what he owes to Snake Man, his trafficker—$60,000.
Julius Ahn delivers a thoroughly engrossing Guāng, a gentle, seemingly honest and hardworking delivery man who, through no fault of his own, was trapped long before he got stuck in the elevator. His predicament is better than it was in China but as an undocumented worker who doesn’t speak English, he’s living the dark side of the American dream, where the climb up is precarious. His dreams to bring his wife and son to the States are fanned by frequent phone calls to them in China where he sugar coats the reality of his situation. Remarkably, Stuck Elevator opened the very day (April 16th) that our Senate’s “Gang of Eight” revealed a much-anticipated (estimated 1,500 page) comprehensive immigration reform package whose main provision creates a quick path to legalization for undocumented immigrants.
Julius Ahn as Guāng, Marie-France Arcilla as Míng and Raymond J. Lee as Wáng Yuè in “Stuck Elevator,” playing April 4 – 28, 2013 at A.C.T.’s Geary Theater. Photo by Kevin Berne.
Ahn/Guāng carries the show—he’s the only actor who never leaves the stage. The rest—Marie-France Arcilla, Raymond J. Lee, Joseph Anthony Foronda and Joel Perez—take on multiple roles playing Guang’s family and close associates. Ahn, a classically trained operatic tenor (Madame Butterfly at Nashville Opera; Turandot at Seattle Opera), delivers solos in a range of styles seamlessly. He also performs evocative ballads with Marie-France Arcilla (wife Míng) that convey the genuine love the couple share.
Overall, Stuck Elevator has the energy and feel of a musical you’d see on Broadway and is a perfect example of the musical theatre hybrid that opera houses and theatre companies alike are experimenting with. (San Francisco Opera has engaged Francesca Zambello to direct a grand scale production of Show Boat as part of its 2014 fall season.) Complementing the singing is A.C.T.’s highly creative use of its space—singers perform from the balcony and even come down the aisles, making the songs even more engaging. At one point when Guāng and Míng exchange letters, they launch paper airplanes across the stage and out into the audience, a simple but clever representation of air mail.
Daniel Ostling’s stark set is in perfect tune with the drab misery of Guāng’s life. The elevator is a steel open frame box that, in an instant, becomes his cage. It rises up and down on steel posts but most of the movement in this production is mental—the personalities and demons Guāng conjures as he passes time waiting to be found.
Kate Freer’s enormous video projections are visible through the elevator’s open walls, illustrating the eerie but rich dialogue between Guāng and his inner demons. One thing that fascinates about these painterly projections, reminiscent of the early work of pioneering video artist Tony Oursler, is the way in which they awaken emotions. A particularly compelling projection is a blown up portrait of Guāng’s face which dominates the background as he writhes powerless on the elevator’s floor, compelling us to really see him as an individual. And that is the journey of this production, coming to a place where we can relate to Guāng’s plight.
Joseph Anthony Foronda as El Elevator and Julius Ahn as Guāng in “Stuck Elevator,” playing April 4 – 28, 2013 at A.C.T.’s Geary Theater. Photo by Kevin Berne.
Later, when Guāng melts down and his demons actually come to life, things start to get too busy. When he, in a state of hallucination, does actual battle with a silvery alien robot, or a giant fortune cookie appears urging him to pull a fortune out of her head, the production leers off course to the farcical or absurd, distracting from his very real and poignant emotional journey. If there’s a weak link in this production this is it—it goes too far.
While the story is set in the U.S., the writers missed the opportunity to give a overview of the enormity of the global problem—rapid modernization is almost always at the expense of the work force. Chinese workers, particularly migrant workers, lead lives of extraordinary hardship to offer their children a way out of poverty and are often confronted with a series of choices that all lead to undesirable outcomes, hence the urgency to get to America. Once here, of course, the reality is often far from the dream. Guāng again becomes a nameless cog in a wheel, toiling day and night to chaise an elusive dream that, more often than naught, includes more hazards than rewards. The elevator is indeed “stuck.”
CAST: Julius Ahn (Madame Butterfly at Nashville Opera; Turandot at Seattle Opera) as Guāng. The following actors play multiple roles, with their main rle listed—Raymond J. Lee (Anything Goes and Mamma Mia! on Broadway) as Wáng Yuè (王越), Guāng’s 8-year-old son; Marie-France Arcilla (Working at Off-Broadways’ 59E59 Theaters; Sondheim on Sondheim at the Cleveland Playhouse) as Míng (明), Guāng’s wife; Joel Perez (In the Heights , 1st national tour; Fun Home at the Public Theater) as Marco, the wisecracking Mexican deliveryman; and Joseph Anthony Foronda (Pacific Overtures and Miss Saigon on Broadway) as Zhōng Yi (忠佚), Guāng’s brother-in-law.
CREATIVE TEAM: scenic designer Daniel Ostling (Endgame and Play and Once in a Lifetime at A.C.T.; Clybourne Park on Broadway); costume designer Myung Hee Cho (Lackawanna Blues at A.C.T.; Emotional Creature at Berkeley Rep); lighting designer Alexander V. Nichols (Endgame and Play at A.C.T.; Hugh Jackman Back on Broadway and Wishful Drinking on Broadway); video designer Kate Freer (Bullet for Adolph at New World Stages; P.S. Jones and the Frozen City); and sound designer Mikhail Fiksel (Black n Blue Boys at Berkeley Rep; In the Next Room (or the Vibrator Play) at St. Louis Repertory).
InterACT Programming for Stuck Elevator: InterACT events are presented free of charge to give patrons a chance to get closer to the action while making a whole night out of their evening at the theatre.
Audience Exchanges: Sunday, April 21, at 2 p.m. | Wednesday Apr. 24, at 2 p.m. Sunday, Learn firsthand what goes into the making of great theatre. After the show, join A.C.T. on stage for a lively onstage chat with the cast, designers and artists who develop the work onstage.
Wine Series: Tuesday, April 23, at 7 p.m. Raise a glass at this wine-tasting event featuring leading sommeliers from the Bay Area’s hottest local wineries.
PlayTime: Saturday, April 27, 12:30 p.m. Before this matiness performance, get hands on with theatre and the artists who make it happens at the interactive preshow workshop.
Details: Stuck Elevator runs through April 28, 2013 at American Conservatory Theater, 405 Geary Street, San Francisco. Performances are 8 p.m. Tuesdays-Fridays; 2 and 8 p.m. most Wednesdays and Saturdays; and 2 p.m. most Sundays. Tickets: $20 to $90, phone 415.749.2228 or visit www.act-sf.org
Up Next at A.C.T. — National Theatre of Scotland’s internationally acclaimed production of Black Watch makes its highly anticipated Bay Area premiere May 9, 2013 at The Drill Court at the Armory Community Center, located in San Francisco’s Mission District, a space used as a National Guard facility from 1914 until 1976. Based on interviews with soldiers who served in Iraq in Scotland’s 300-year-old Black Watch regiment, this powerful depiction of war splices together choreographed marches and Scottish ballads with searing video news footage, capturing war from the perspective of those on the ground—what it really means to be part of the war on terror and what it means to make the journey home again. Through June 9, 2103.
A.C.T. wraps its 2012-13 season with a new production of Tom Stoppard’s rich comedy Arcadia. In pursuit of a major literary sensation, two obsessive modern-day scholars piece together the volatile and passionate events that took place centuries earlier. This enchanting story moves between the 19th century and the present through a series of love stories. Characters from both eras discover connections, unearth mysteries and unravel hidden truths. May 16 – June 9, 2013.
Review: A.C.T.’s heartwarming performance of Dickens’ holiday classic “Christmas Carol” through December 24 at A.C.T.’s Geary Theatre
In A.C.T.’s annual holiday favorite, “A Christmas Carol,” James Carpenter is Ebenezer Scrooge and Rebekah Brockman is the Ghost of Christmas Past, who first appears on a swing. “A Christas Carol” runs November 30–December 24, 2012, at A.C.T.’s Geary Theater. Photo by Kevin Berne.
Bah Humbug! It’s time again for those immortal and endearing words. With dozens of productions of Charles Dickens’ “A Christmas Carol” opening this holiday season, one that really stands out in the Bay Area is A.C.T.’s (American Conservatory Theatre), which opened last Tuesday and runs through Christmas Eve.
Now in its 36th year at A.C.T., A Christmas Carol is thoroughly enjoyable, offering fine acting, vivid characterizations, dazzling special effects, lush staging and beautiful period costumes. Adapted by Carey Perloff and Paul Walsh in 2005, and directed by Domenique Lozano, with music by Karl Lundeberg, this lively version stays true to the heart of Dickens’ timeless story of redemption but it has some updates and cast changes that keep it fresh. The production runs two hours (with intermission) and the evening show begins an hour early, at 7 pm, with additional 1 or 2 pm performances nearly every day through Christmas Eve. Combine it with a walk through bustling and gorgeously lit Union Square en route to A.C.T.’s historic Geary Theatre and it’s a very doable evening outing for families or for those who are from the greater Bay Area and face a longer drive home.
We all know the classic tale of Ebenezer Scrooge’s wake-up call and it rings ever true today. Wealthy Ebenezer Scrooge was a miser and a kill joy. “The only thing more ridiculous than Merry Christmas is falling in love!” sputters crotchety James Carpenter early in the play. Carpenter, now in his 6th year in the role, keeps adding new layers of complexity to Scrooge. This year, he plays him as a member of the 1 percent who is willfully and persistently ignorant to the suffering of his fellow human beings and who is completely unaware of how closed off, disagreeable and unkempt he has become over the years.
By contrast, Bob Cratchit (Nick Pelczar), Scrooge’s overworked clerk, hasn’t a schilling to his name but he has vast inner resources—a heart of gold and a large loving family. Cratchit is played with genuine warmth and dignity by Pelczar, whose radiance is matched by Delia MacDougall’s portrayal of his equally good-hearted wife, Anne Cratchit. The Cratchit’s material hardship makes the wealthy Scrooge seem all the more despicable, even pitiable, because he cannot enjoy or share the massive fortune he has amassed. Dickens shows not only Scrooge’s miserliness but also how it would come to ruin the lives his beloved sister’s descendants and harm his impoverished clerk’s family. While writing his classic, Dickens realized that if Scrooge’s imagination could be stimulated, it would be possible for him to wake up on Christmas morning an entirely new man and that’s the message of the play. Scrooge’s remarkable transformation—ideological, ethical and emotional—is brought about by the visits of four ghosts on Christmas Eve—Jacob Marley (his former business partner) and the Ghosts of Christmases Past, Present and Future.
The Ghost of Jacob Marley (Ken Ruta) haunts Scrooge on Christmas Eve to save his soul, warning him of the three other ghosts that will visit him. Photo: Kevin Berne
The visits of these ghosts, who lead Scrooge through some very poignant and harrowing scenes from his life, represent the production’s most creative parts. Setting the bar for ghastly ghost behavior highlighted by special effects is the Ghost of Jacob Marley, played by Ken Ruta, who originated this role in the 2005 production. Amidst billowing clouds of colored smoke, he robustly pops out of the headboard of Scrooge’s bed, rattling chains and issuing warnings and looking like death-warmed over with his crazy frizzed out hair. Ruta replaces the revered Jack Willis who is over at Berkeley Rep playing a meddling Buddhist monk in Mary Zimmermann’s adaptation of The White Snake.
The Ghost of Christmas Present, is played humorously again by A.C.T.’s Omozé Idehenre who appears in striated green velvet as a Bacchic spirit of abundance. One of the production’s unique touches is that the ghosts are, at times, suspended above Scrooge on swings, adding a playful touch.
And gauging’s the Bay Area’s love of puppets, the Ghost of Christmas Yet to Come is spot on—a giant black bat-like puppet apparition that fills the stage and moves its appendages in and out as if it could readily swallow someone up. It also serves as a screen. As projections of the harrowing future that await Scrooge flash rapidly before him, Scrooge gets his final wake-up call.
Carmen Steele is Tiny Tim (little Timothy Cratchit), the play’s emotional center, and has a wonderful stage presence. When Scrooge is visited by The Ghost of Christmas Present, he learns just how ill Tim really is, and that Tim will die unless he receives treatment (which the family cannot afford due to Scrooge’s miserliness). When he’s next visited by The Ghost of Christmas Yet to Come, Tim’s little wooden crutch is all that is shown because Tim has died. This and several other harrowing visions, lead Scrooge to reform the moment he wakes up on Christmas morning. And change he does! He gives his cleaning lady, Mrs. Dilber, a real jolt by thanking her, paying her generously, and giving her the holidays off. Sharon Lockwood, who brilliantly channels Bewitched’s dingy Aunt Clara, makes Mrs. Dilber one of the most endearing characters of all.
In A.C.T.’s annual holiday favorite, “A Christmas Carol,” James Carpenter (L) is Ebenezer Scrooge and Carmen Steele (R) is Tiny Tim Cratchit. Runs November 30–December 24, 2012, at A.C.T.’s Geary Theater. Photo by Kevin Berne.
Val Caniparoli’s choreography, as always, is fantastic. There’s lots of lighthearted and fluid dancing which showcases Beaver Bauer’s beautiful period costumes and Caniparoli has interjected some new funk and spunk into the scary ghosts. Caniparoli, who is currently dancing the role of the toymaker, Drosselmeyer, in SF Ballet’s treasured Nutcracker, really understands how much enjoyment an audience gets from the gestures communicated through dance. Under his direction, the lively ball at the Fezziwig Warehouse, with its new cartoon-like sets, was delightful and Act II’s lively “Waltz of the Opulent Fruit” was charmingly executed by six young Bay Area actors who had been transformed into plump and colorful French plums, Turkish figs, and Spanish onions. Their festive jig, which showcases composer Karl Lundeberg’s talent, is always an audience favorite.
The message is profoundly clear in this play of new beginnings: generosity comes in many forms and its rewards are priceless. Scrooge doesn’t so much need to celebrate Christmas (but when he finally does, he does it admirably) as to open his heart which enables to him to both give and receive…which is the one of the joys of Christmas.
The Dickens novella that inspired it all is at the Morgan Library: “A Christmas Carol” was written by Charles Dickens and published in somber Victorian-era Britain in December 1843, when new customs such as the Christmas tree and greeting cards were just being introduced. This was before Christmas became today’s highly commercial venture but also during a time when there wasn’t much gleeful celebration. The novella was an instant hit, largely for its memorable characters and its realistic depictions of the hardships of the working class which people related to. It infused people with hope during a stifling period and has been credited with putting the “merry” in Merry Christmas in England and America. When it was first published, its 6,000 copies printed up in time for Christmas, sold out. Because Dickens had selected lavish drawings in red and green ink by John Leech, one of the Britain’s best illustrators, the book was a financial bust. It went on to become a literary staple, so Dickens fared well but it was also pirated immediately after publication. It was shortly adapted to the stage and the rest is history.
The financier J.P. Morgan bought the manuscript in 1890 and it has been housed at 225 Madison Avenue, in Pierpont Morgan’s historic Library. The 66 page handwritten manuscript, written in large scribbling cursive in just 6 days, is exhibited each holiday season at The Morgan Library and Museum in Manhattan. As a matter of expedience, only one page is put on view each year, under glass. This year, page 61 is on display, which is the first page of the final Stave (Stave V), titled “The End of It.” This is the scene in which Scrooge, awaking after the visitation of the Ghost of Christmas Yet to Come, celebrates his reprieve. (Click here to be directed to that page.) The entire original manuscript, along with a very useful audio option that allows readers to hear a page read aloud is available online here courtesy of the Morgan Library.
Run-time A.C.T.’s A Christmas Carol: Two hours including one 15 minute intermission.
Cast: James Carpenter (Ebenezer Scrooge), Ken Ruta (Ghost of Christmas Past), Nick Pelcar (Bob Cratchit, Delia MacDougall (Anne Cratchit), Jarion Monroe (Mr. Fezziwig), Sharon Lockwood (Mrs. Fezziwig), Omozé Idehenre (Ghost of Christmas Present). The adult cast also includes Cindy Goldfield, Howard Swain, Arwen Anderson, Stephanie DeMott.
The Christmas Carol cast also includes six third-year students from the A.C.T. Master of Fine Arts Program, many of whom traditionally receive their Actors’ Equity cards as a result of their participation in A Christmas Carol —Rebekah Brockman, Raymond Castelán, Allegra Rose Edwards, Nick Steen, Tyee J. Tilghman and Titus Tompkins. And a record 27 young actors from the A.C.T. Young Conservatory (YC) are participating in the production—Graham Bennett, Frank Demma, Ian DeVaynes, Chloe Durham, Jack Estes, Dashiell Ferrero, Elke Janssen, Leo Jergovic, Louis Kehoe, Sydney Kistler, Shalan Lee, Madelyn Levine, Elsie Lipson, Katerine Liviakis, Sarah Magen, Timothy Marston, Rachel Metzger, Kai Nau, Evelyn Ongpin, Gavin Pola, Kennedy Roberts, Lindsay Sohn, Carmen Steele, Sasha Steiner, Emma Sutherland, Samuel Sutton, and Seth Weinfield.
Creative Team: John Arnone (set design), Beaver Bauer (costume design), Karl Lundeberg (original music), Val Caniparoli (choreography), Nancy Schertler (lighting design), and Jake Rodriguez (sound design), and Robert Rutt (musical direction).
Details: A Christmas Carol runs through December 24, 2012 at A.C.T.’s Geary Theatre, 415 Geary Street, San Francisco. Performances:
7 p.m.: December 12, 13, 14, 15, 19, 20, 21, 22
5:30 p.m.: December 16, 23
2 p.m.: December 12, 15, 21, 22
1 p.m.: December 16, 23, 24
Tickets: $20-$95, available online through the A.C.T. online box office , or by phone (415)439-2473. For all performances, no children under the age of 5 are permitted. Performances sell out quickly. Act now for the best seats !
Review: In Carey Perloff’s riveting production of Sophocles’ “Elektra,” Academy Award winner Olympia Dukakis and A.C.T.’s fabulous René Augesen enliven this age old tale of justice—at A.C.T. through November 18, 2012
L to R: René Augesen is Elektra, Olympia Dukakis is the Chorus Leader, and Allegra Rose Edwards is Chrysothemis (Elektra’s sister) in Sophocles’ “Elektra,” directed by Carey Perloff at A.C.T. Photo by Kevin Berne.
With American Conservatory Theater (A.C.T.) and Berkeley Rep, the Bay Area’s two most prominent theatres, staging revitalized Greek dramas this November, there’s no escaping the enduring power of the ancient Greek classics. A.C.T. presents A.C.T. Artistic Director Carey Perloff’s production of Sophocles’ Greek tragedy Elektra — featuring a specially commissioned new translation by Olivier Award–winning British playwright Timberlake Wertenbaker, an original score by Pulitzer Prize–winning composer David Lang and Academy Award winner Olympia Dukakis. Across the Bay, the Berkeley Repertory Theatre has extended its run of An Iliad, performed by Henry Woronicz and adapted from Homer by Lisa Peterson and Denis O’Hare with a compelling translation by Robert Fagles. An Iliad provides an unforgettable
oral overview of the battles and main characters of the Trojan War, which transpired some 3,200 years ago. Elektra is set later and focuses on the fall-out from one of those ancient wars and is a cause and effect case study in the ideas of justice and vengeance, pitting truth and deception against each other. Sophocles left it up to the audience to ferret out the ethics of avenging a strike to the family bloodline with more murder. Timberlake Wertenbaker distills the story brilliantly in her adaptation with poignant and, at times, very humorous passages which are enlivened by René Augesen in particular.
A.C.T.’s Elektra is a must-see for the exceptional women it brings together on stage— René Augesen, Olympia Dukakis, Caroline Lagerfelt and Allegra Rose Edwards. Watching A.C.T. core actress René Augesen over the past 11 years has been transformative—she just keeps digging deeper to deliver astounding character performances (she’s done over 30) that have come to anchor entire productions from Hedda in Hedda Gabbler (2007) to Esme in Tom Stoppard’s Rock–n-Roll (2008) to Ruth in Harold Pinter’s Homecoming (2011) to Beverly in Bruce Norris’ Clybourne Park (2011). She always good but when she gets on stage as Elektra, Agamemnon’s grief-stricken grown daughter, it is like watching some sort of primal creature emerge. She readily delivers an Elektra who cannot shake the traumatic memory of her father’s murder by her mother Clytemnestra (Caroline Lagerfelt), an Elektra who is so obsessed, so stuck in grief, that she is incapable of moving forward in her own life. Augesen credibly sinks to the lowest suffering imaginable showing the heroic and tragic nature of her character. She is addicted to pain and we can all somehow relate to that.
Caroline Lagerfelt (left) is Clytemnestra, Elektra’s mother, who was unfaithful to her husband, King Agamemnon, when he was away fighting the Trojan War and then conspied with her lover to kill him when he returned home. René Augesen (right) is Elektra who seeks to avenge her father Agamemnon’s murder. Photo by Kevin Berne.
As the entire chorus, boiled down to one character, Olympia Dukakis is formidable. The Academy-Award winning actress (Moonstruck), now 81, seems born dispensing wise counsel. At times empathetic, at times burning with intensity, she urges the distraught Elektra to justice, knowing full-well the blood that will be shed. Clothed in a dark gray tunic with an ornate metallic scrolling on the front (all costumes are by Candice Donnelly), Dukakis dramatically entered to the very minimalist music of Pulitzer Prize winning David Lang, which successfully evoked the sense of ancient rhythms and tones as they might have existed in that very time. As cellist Theresa Wong began keening and wrapping on her instrument, it was as if she was calling up the ancient spirits. As Dukakis took to the stage, she transfixed the audience and held them in her grip for the next 90 minutes. Her natural rapport with Augesen is palpable.
And lithe Caroline Lagerfelt, as Clytemnestra, Elektra’s adulterous murderer of a mother, is a model for glorious aging. She wears the trappings of queen hood well—exquisite jewelry and eloquent flowing gowns—and she feels justified in killing Agamemnon. Is she? Her daughter, Iphigenia, was murdered, in a deal that her husband Agamemnon cut with the goddess Artemis to save the Greeks in the Trojan War. As morally reprehensible as she is, she has a case, adding complexity to the drama. In fact, many of the characters feel justified in their actions in this play—Clytemnestra needs to extract justice on Agamemnon for the death of her daughter; Orestes needs to kill his mother Clytemnestra for killing his father; and Elektra feels bound to kill Clytemnestra and her new husband Aegisthus, but as woman, she needs her brother Orestes to carry out the revenge. With no divine intervention, Sophocles leaves the question of justice squarely on his audience.
Allegra Rose Edwards (left) is Chrysothemis and René Augesen is Elektra in Sophocles’ Elektra. Photo by Kevin Berne.
Elektra’s sister, Chrysothemis is cast perfectly in Allegra Rose Edwards (A.C.T. Master of Fine Arts Program class of 2013), who has survived by living with the imbalance in the universe. Dressed in a ridiculous white dress haut couture dress looks like one of the impossibly impractical numbers that gets a full page spread in Vogue, she engages authentically with Augesen throughout the play, acknowledging that Elektra has justice on her side but she prefers to go with the flow. In one of the play’s most touching passages, Elektra finally persuades her to offer a prayer at their father’s grave that Orestes will return and avenge their father’s death.
Orestes (Nick Steen), Elektra’s brother, and true heir to the throne, was the weak link in the play. From the moment Orestes spoke, it seemed as if his lines were not deeply felt. Of course, he is younger and hasn’t suffered the way Elektra has. When he was very young, Elektra feared for his life and took him to live with King Strophius of Phocis, who raised Orestes with his own son Pylades (Titus Thompkins), who accompanies him to the oracle at Delphi. Then, with Pylades, and his Tutor (Anthony Fusco), Orestes travels in disguise to his former home to avenge his father’s death by killing his mother and her lover. Another Orestes might have brought more to the production.
Run time is 90 minutes
Cast: René Augesen, Elektra, Olympia Dukakis, Chorus Leader, Caroline Lagerfelt Clytemnestra, Anthony Fusco, the Tutor, Nick Steen, Orestes, Allegra Edwards, Chrysothemis, Steven Anthony Jones Aegisthus.
Creative Team: music by composer David Lang, cellist Teresa Wang, scenic design Ralph Funicello, costume design Candice Donnell, lighting design Nancy Schertler, and sound design by Cliff Caruthers.
InterACT Programming for Elektra: InterACT events are presented free of charge to give patrons a chance to get closer to the action while making a whole night out of their evening at the theatre.
Audience Exchanges: Sunday, November 11 at 2 PM, Wednesday, November 13 at 8 PM, and November 14 at 2 PM. Learn firsthand what goes into the making of great theatre. After the show, join A.C.T. on stage for a lively onstage chat with the cast, designers and artists who develop the work onstage.
Wine Series: Tuesday, November 13, 8 PM. Raise a glass at this wine-tasting event featuring leading sommeliers from the Bay Area’s hottest local winderies.
PlayTime: Saturday, November 17, 12:30 PM. Get hands on with theatre and the artists who make it happens at the interactive preshow workshop.
Details: Elektra’s limited run ends on Sunday, November 18, 2012 at the American Conservatory Theater, 415 Geary Street, San Francisco. Performances: Tuesday-Sundays at 8 PM, with several 2 PM matinee performances, including Saturday, November 10, Sunday November 11, Wednesday November 14, Saturday November 17, and Sunday, November 18, 2012. Tickets (starting at $20 to $150) are available at or at act-sf.org or by calling the A.C.T. Box Office at 415.749.2228
Olympia Dukakis narrates SF Symphony’s holiday performance of Peter and the Wolf
Delight your children with San Francisco Symphony’s annual presentation ofPeter and the Wolf including festive holiday songs for the whole family to sing—perfect for music lovers of all ages. Donald Cabrera conducts The San Francisco Symphony Youth Orchestra as it performs Prokofiev’s charming tale with Olympia Dukakis narrating. Approximate length is 1 hour. Saturday, December 8, 2012 at 1 PM and 4 PM at Davies Symphony Hall. Tickets are $27-$57 for adults and $13.50 to $28.50 for Children. For more information and tickets: www.sf.symphony.org
Review: A.C.T.’s Samuel Beckett double bill—“Endgame” and “Play”— through June 3, 2012
Tony Award winner Bill Irwin, left, is Hamm and ) and A.C.T. core acting company member Nick Gabriel is his servant, Clov, in Samuel Beckett’s “Endgame,” performing together with Beckett’s one-act “Play,” at the American Conservatory Theater through Sunday, June 3, 2012. Photo by Kevin Berne.
No one pokes fun at the misery of existence with the crystalline lines of the late master playwright Samuel Beckett. The problem has always been finding actors who can deliver those lines with the exact flavor of irony and detachment that Beckett calls for. Two-time Tony Award winner Bill Irwin, no stranger to Beckett, gives a memorable performance as Hamm in Beckett’s masterpiece, Endgame, which is currently at American Conservatory Theatre (A.C.T.) in a double bill with Beckett’s Play, a lesser known absurd comedy written in 1963. These two Beckett one acts are well-executed revivals that pair well together.
Play opens with a spotlight directed on the three babbling ashen faces protruding out of three huge funeral urns, placed side by side. A man (M), Anthony Fusco, occupies the middle urn, while his wife (W1), René Augesen, occupies the left urn, and his mistress (W2), Annie Purcell, occupies the urn on the right. Eternally together in the afterlife, locked in their urns and only able to engage in slight turns of their heads, Beckett uses this trio of lovers like a captive chorus. Each is condemned to repeat his or her version of the affair for eternity. One character speaks at a time, in a very mechanical and detached refrain, and only when the spotlight shines on his or her face.
A.C.T. core acting company member Annie Purcell (left), A.C.T. core acting company member Anthony Fusco (center), and A.C.T. core acting company member René Augesen (right) in Samuel Beckett’s Play, performing together with Beckett’s Endgame at the American Conservatory Theater through Sunday, June 3, 2012. Photo by Kevin Berne.
After the realization that you cannot possibly comprehend all that is said because it is delivered too quickly, you begin to experience it as a concert, taking in fragments and understanding that the heads aren’t communicating with each other, they seem oblivious to each other. Beckett is all about repetition, which is core to his discourse and is used as a means to unsettle some of our most fundamental notions of how humans function. Once completed, the cycle of dialogue is repeated. Hearing it all again, you begin to get a sense of Beckett’s brilliance, much of which will only come through if the timing and delivery of these lines is perfect. Last Wednesday’s performance was delivered with admirable skill by this unharmonious trio of dead lovers. A.C.T. core-acting company member Annie Purcell, who gave a vivid performance this February in as the daughter/sister, Janine, in A.C.T.’s Scorched by Wajdi Mouawad, again gave a compelling performance as a seething woman who felt she had won the love of this man (M) and scorned her rival, his wife Augesen (W1). The wife, of course, has a different take, she feels she owns him.
What makes Play all the more interesting it that it somewhat models Beckett’s personal experiences. When Play premiered in June 1963, Beckett had recently married his long-time companion of twenty-odd years, Suzanne Deschevaux-Dumesnil. He had also resumed his long-term affair with Barbara Bray, the acclaimed BBC script editor, who had moved to Paris to be near him. When Play premiered, Bray not only attended but reviewed it favorably for the venerable Observer, referring to the man (M) as “scooting breathlessly back and forth between the two women, perhaps the worst of the bunch: all need and weakness and feeble, if amiable duplicity…” (A.C.T.’s program p 20).
Bill Irwin portrays the invalid, Hamm, in Samuel Beckett’s “Endgame,” performing together with Beckett’s one-act “Play” at the American Conservatory Theater through Sunday, June 3, 2012. Photo by Kevin Berne.
Endgame, one of Beckett’s best plays, takes its English name from the final part of a chess game, when there are very few pieces left, and the outcome is obvious. Its French title, Fin de partie, applies to games beyond chess as well, but there is no precise English equivalent for the phrase. Beckett himself was an avid chess player. Endgame is a commentary on death and our transition through life. Beckett has whittled human drama down to the bone—longing, relationship, abuse and hope. Everyone meets Endgame on a different terrain based on their own individual life experiences, aesthetics, and needs. Some will see it as the story of a master and slave and others as that of an overworked caretaker tied by some means to an ill or dying man.
The setting is minimalist. A bare, partially underground room is inhabited by four characters—Hamm the master (Bill Irwin), Clov his servant (Nick Gabriel), and Hamm’s father, Nagg (Giles Havergal), and mother, Nell (Barbara Oliver). Hamm is blind and can’t walk and is in a wheelchair that also might be a throne. He makes Clov, who cannot sit, move him around the room, fetch objects, and look out the window for signs of life, of which there are none. Nagg and Nell have no legs and reside in huge trash urns and are fed and watered daily by Clov. Inside this bleak little world, staged wonderfully by Daniel Ostling, the characters pass their time waiting for an end that never comes.
Bill Irwin, who has acted in Waiting for Godot three times, brings a vibrant energy to Hamm. Irwin delighted audiences with his perfect comedic timing and remarkably elastic body movements as the wily servant, Scapin, in Molière’s Scapin, which opened A.C.T.’s 2010 season. In Endgame, even though Hamm is confined to a chair, Irwin manages to make him the life of the party, using his dancing eyes and sharp facial gestures to imbue him with human spirit, so much so that we pity him.
Nagg (Giles Havergal, left) and Nell (Barbara Oliver) in Samuel Beckett’s Endgame, performing together with Beckett’s one-act Play at the American Conservatory Theater through Sunday, June 3, 2012. Photo by Kevin Berne.
There is a strong and palpable chemistry between Irwin and Nick Gabriel, who plays Clov. The two are well-synced in their sparse dialogue and numerous pauses but an almost comedic undertone locks into place between the two, overshadowing the necessary cruelty, abuse and anxiety that are part and parcel of the power-tripping relationship Beckett calls for. When Clov delivers sadly powerful lines like “No one that ever lived thought so crooked as we,” we don’t understand the full extent of their perverted existence. In this regard, A.C.T.’s enactment of Endgame falls short of its full dramatic potential. On the other hand, watching Nick Gabriel move about the stage, re-arranging a short step ladder so that he can peer out through the windows into one of two views of oblivion and report on it to Hamm, is slapstick brilliance. So is Gabriel/Clov’s brief encounter with what he thinks is a flea in his trousers. You’ll be hard-pressed to find any two actors with more instinctive mastery of the physical gesture than Bill Irwin and Nick Gabriel.
Beckett is frequently criticized for making people feel stupid because they don’t get it. There’s plenty to ponder in this double bill—our human response to loneliness—but there’s a lot that’s laugh out loud funny too, even if Beckett’s characters are too exhausted to laugh themselves.
Run-time: Play is 22 minutes long, followed by a 15 minute intermission and Endgame runs for 90 minutes
Cast Play: René Augesen (W1), Anthony Fusco (M), Annie Purcell (W2)
Cast Endgame: Bill Irwin (Hamm), Nick Gabriel (Clov), Giles Havergal (Nagg), Barbara Oliver (Nell)
Creative Team: Carey Perloff (Director), Daniel Ostling (Scenic Design), Candice Donnelly (Costume Design), Alexander V. Nichols (Lighting Design), Fabian Obispo (Sound Design), Michael Paller (Dramaturg), Janet Foster, CSA (Casting Director), Elisa Guthertz (Stage Manager, Megan Q. Sada (Assistant Stage Manager), Daniel Ostling’s staging
A.C.T. InterACT Events:
Audience Exchanges: May 22, 7 p.m., May 27, 2 p.m., June 3, 2 p.m.
After the show, stick around for a lively Q&A session with the actors, moderated by a member of the A.C.T. artistic staff.
Killing My Lobster Plays With Beckett: May 24, 8 p.m.
San Francisco’s premiere sketch comedy troupe offers an original, Beckett-inspired performance 15 minutes after the final curtain (approximately 10:15 p.m.). Possible sketches include “Hunger End Games,” “Cooking with Clov,” and a speed-dating sketch featuring Beckett characters. Admission is free, but seating is limited. Ticketholders for the May 24 performance will receive priority seating but must RSVP—information will be emailed to you separately. Non-ticketholders who wish to attend can add their names to the waitlist by sending an email to lobster@act-sf.org with their name and requested number of seats (limit two seats per person).
OUT with A.C.T: May 30, 8 p.m., The best LGBT night in town! Mingle with the cast and enjoy free drinks and treats at this popular afterparty. Visit www.act-sf.org/out for information about how to subscribe to OUT nights throughout the season.
PlayTime New!: June 2, 2 p.m.
Get hands-on with the art of theater with the artists who make it happen at this interactive preshow workshop. Doors open at 12:45 p.m.; the workshop will begin promptly at 1 p.m.
Details: Endgame and Play end on Sunday, June 3, 2012, at the American Conservatory Theater, 415 Geary Street, San Francisco. Performances: Tuesday-Sundays, with several 2 p.m. matinee performances, including Wednesday May 30, 2012, Thursday, May 31, 2012, and all Saturdays and Sundays of the run. Tickets (starting at $10) are available by calling the A.C.T. Box Office at 415.749.2228 or at act-sf.org.
review: Like father??? Lorenzo Pisoni’s “Humor Abuse” reflects on his life as a clown and the son of Pickle’s founding clown Larry Pisoni─ at A.C.T., extended through Sunday, February 5, 2012
Lorenzo Pisoni as his father Larry Pisoni, one of the founders of the Pickle Family Circus. A.C.T. presents “Humor Abuse,” Pisoni’s one man show about growing up as the youngest member of the Pickle Family Circus. Historic photo featured on set by Terry Lorant. Production photo by Chris Bennion.
Ahhh… men and their fathers….one can’t can’t help but be a reflection of the other. What makes Lozeno Pisoni’s one man show, Humor Abuse at A.C.T. (American Conservatory Theatre) so special is that it is hilariously funny, packed with dazzling tricks, and, at its core, it’s all about growing up with a very controlling dad and making peace with it. Lorenzo Pisoni is the youngest member of the Pickle Family Circus and the son of Pickle co-founder Larry Pisoni. In Humor Abuse, Pisoni not only shows off the tricks of the trade he learned from his father, he also relates the complex relationship he had on and offstage with him. Pisoni first appeared onstage at the age of two. He became his father’s clown partner not long after, and he continued to perform with the troupe during his teens. A natural storyteller, Pisoni’s recollections are centered around physically demanding tricks (both newly created acts as well as and reenactments of his father’s famous Pickle performances) that show off his skills as a juggler, acrobatic, clown, and physical comedian. This is one show where it really pays to sit as possible to the stage, to get a good glimpse of the vein-popping, sweat-drenched rigor and special protective padding involved in pulling off a clowning stunt like casually tripping down a flight of stairs or jumping off a platform into a bucket or performing a series of handstands, cartwheels and body-slamming vaults and then juggling.
Lorenzo Pisoni with an old photo of his two-year old self. Historic photo by Terry Lorant. Production photo by Chris Bennion.
Breathtaking and funny, Pisoni’s show also contains several bittersweet moments when he reflects on his father’s perfectionism and how he was forced to practice a trick for several hours, days on end, to master it. No matter how perfectly he performed it, he would always garner criticism, rarely praise, from his father. Sound familiar? The show is aptly titled—you get a good sense of the physical abuse that these daring comedic feats impart on the body and a sense of the deeper current of torment that Lorenzo experienced growing up under the thumb of such a perfectionist. And it will come as no surprise that, aside from the circus, the father and son have little in common. It seems that what lay at the bottom of all these physical acts Lorenzo performed to perfection was disappointment, something missing, some essential emotional territory that the relationship didn’t meet. But it’s not a downer, at least not anymore…Pisoni, actually seems to be cherishing the opportunity to express and revision himself…because underneath it all is the quest for his own unique identity. Larry Pisoni was one sour Pickle but Lorenzo has emerged a sweet one.
Lorenzo Pisoni performs "Humor Abuse," his one-man show about growing up as the youngest member of the Pickle Family Circus. Historic photo featured on set by Terry Lorant. Production photo by Chris Bennion.
Pickle Family Circus History: Pisoni was born into the Pickle Family Circus shortly after his parents, Larry Pisoni and Peggy Snider, founded the alternative big top in 1974 with their juggling partner Cecil MacKinnon. After Bill Irwin and Geoff Hoyle joined their ranks—creating the incomparable clown trio of Lorenzo Pickle (Pisoni), Willy the Clown (Irwin), and Mr. Sniff (Hoyle)—the Pickles became a venerable and beloved Bay Area institution. They toured the West Coast (and beyond) through the 1980s and ’90s and led the charge in the renewal of the American circus, exchanging animal acts and pyrotechnics in the supersized three-ring format with daring acrobatics and its famous show-stopping group juggle, all presented on one intimate stage so audiences would not miss a single moment.
Bill Irwin opened A.C.T.’s 2010 season with Scapin. Pisoni last appeared on the A.C.T. stage in 2005′s in the hugely popular The Gamester. He also recently performed in Broadway’s Equus alongside Daniel Radcliffe and says: “Ever since Erica (Schmidt) and I created Humor Abuse, I’ve wanted to do it in San Francisco…I know many A.C.T. audience members will have a deep, nostalgic connection to what happens in the play because the Pickles were a part of San Francisco’s culture for so long.”
Humor Abuse runs 80 minutes with no intermission.
Humor Abuse: Created by Lorenzo Pisoni and Erica Schmidt. Directed by Erica Schmidt.
Creative Team: Hannah Cohen (stage manager), Randy Craig (composer), Bart Fasbender (sound designer), Ben Stanton (lighting designer)
Featuring Lorenzo Pisoni
Related Events: A.C.T. Family Series (NEW this season!): Saturday, Feb. 4, 2012, before the 2 p.m. performance. Join A.C.T. at 1 p.m. for a fun preshow event! An A.C.T. artist will lead a lively, interactive workshop on clowning and physical theater. Visit www.act-sf.org/family for information about how to subscribe to the A.C.T. Family Series throughout the season.
Details: Humor Abuse has been extended through Sunday, February 5, 2012. The Geary Theater is located at 415 Geary Street, San Francisco. Tickets (starting at $10) are available by calling the A.C.T. Box Office at 415.749.2228 or at http://www.act-sf.org.
Up Next at A.C.T: February 1-19, 2012: The world premiere of Carey Perloff’s Higher, directed by Mark Rucker.
In this smart and sexy new play, two American architects dive into a high-stakes competition to design a memorial in Israel. They’re also in love—but don’t know that they are vying against one another. Higher whisks us from sleek New York studios to the shores of the Sea of Galilee, as the architects confront their own pasts in a race to make their mark on history. Faith, family, desire, and design fuel this thrilling new work, featuring A.C.T. core acting company member René Augesen and A.C.T. favorite Andrew Polk (The Homecoming, November). (Learn more.) Note: Performances of “Higher” take place at the The Theater at Children’s Creativity Museum (formerly Zeum Theater), 221 Fourth Street, San Francisco.
God Bless us, everyone! A heartwarming performance of Dickens’ classic “Christmas Carol,” through December 24 at San Francisco’s American Conservatory Theatre
In A.C.T.’s annual holiday favorite, “A Christmas Carol,” the Ghost of Jacob Marley (A.C.T. core acting company member Jack Willis, left) haunts Scrooge (James Carpenter) on Christmas Eve to save his soul, warning him of the three other ghosts that will visit him. The play runs through Christmas Eve. Photo: Kevin Berne
The holiday season for me means time spent with family and friends and getting back in touch with my “goodwill towards all” vibe. Tuesday evening, after a romp through a bustling Union Square, I had the pleasure of attending A.C.T.’s “A Christmas Carol” and highly recommend this family-friendly classic for setting spirits right. This classic and beloved tale of transformation just doesn’t get any better. The performance (with intermission) runs two hours and the evening show begins an hour early at 7 pm, with additional 1 or 2 pm performances nearly every day through Christmas Eve. This makes it a doable evening outing for families with kids or for those who are from the greater Bay Area and face a long drive home.
“A Christmas Carol” was written by Charles Dickens and published in somber Victorian-era Britain in December 1843, when new customs such as the Christmas tree and greeting cards were just being introduced. This was before Christmas became today’s highly commercial venture but also during a time when there wasn’t much gleeful celebration. The novella was an instant hit, largely for its memorable characters and its realistic depictions of the hardships of the working class which people related to. It also infused people with hope and has been credited with putting the “merry” in Merry Christmas in England and America during a stifling period. It was pirated immediately and adapted to the stage and the rest is history. Now in its 35thyear at ACT, the play is a cornerstone of ACT’s repertory and has become a holiday tradition for families all around the Bay Area. Adapted by Paul Walsh and Carey Perloff, and directed by Domenique Lozano, this version has been around since 2004 and has been performed over a thousand times and stays true to the heart of Dickens’ timeless story of redemption.
Ebenezer Scrooge (James Carpenter, right) scolds his overworked employee Bob Cratchit (A.C.T. core acting company member Manoel Felciano) on Christmas Eve. Photo: Kevin Berne
We all know the classic tale of Ebenezer Scrooge’s wake-up call which rings ever true today. Rich Ebenezer Scrooge was a miser and a kill joy–not very loving, giving, or even friendly. James Carpenter, now in his fifth year in this role, doesn’t flinch from playing Scrooge’s harsh sides to the hilt but he also shows us a man who is completely and tragically unaware of how stuck and disagreeable he has become. In Northern CA, we all know what happens when there’s no positive energy flow and Scrooge embodies the big “NO” with every ounce of his being.
By contrast, impoverished Bob Cratchit, A.C.T. core acting company member Manoel Felciano, who is Scrooge’s clerk and whipping boy hasn’t a schilling to his name but he has vast inner resources– a true heart of gold- and a large loving family. Cratchit is played with genuine warmth and dignity by Felciano whose radiance is matched by Delia MacDougall’s portrayal of his equally good-hearted wife, Anne Cratchit. The Cratchit’s material hardship makes the wealthy Scrooge seem all the more despicable, even pitiable, because he cannot enjoy or share the massive fortune he has amassed. Dickens realized that if Scrooge’s
The dancing is delightful in A.C.T.'s "A Christmas Carol." The produce sellers (A.C.T. core acting company member Annie Purcell, right, and Cindy Goldfield) bring in the bounty of the season, including belly-dancing Turkish figs (on cart: Emily Spears, left, and Elsie Lipson). Photo: Kevin Berne.
imagination could be stimulated, it would be possible for him to wake up on Christmas morning an entirely new man and that’s the message of the play. Scrooge’s remarkable transformation—ideological, ethical and emotional– is brought about by the visits of four ghosts on Christmas Eve—Jacob Marley (his former business partner) and the Ghosts of Christmases Past, Present and Future. At Tuesday’s press opening, the show was full of marvelous special effects associated with the visits of each of these ghosts who led Scrooge through some very poignant and harrowing scenes from his life. Jack Willis, who returns as the Ghost of Jacob Marley, set the pace by robustly rising from Scrooge’s bed, rattling chains and warnings amidst clouds of smoke. The Ghost of Christmas Present, played delightfully by A.C.T.’s Omozé Idehenre, emerged in striated green velvet as a Bacchic spirit of abundance with lusty vibes.
The Cratchit family toasts to Scrooge's health on Christmas in A.C.T.'s annual production of "A Christmas Carol," thorugh December 17, 2011. Photo: Kevin Berne
And then there’s Tiny Tim (little Timothy Cratchit), the play’s emotional center, played wonderfully by young Graham Bennett. When Scrooge is visited by The Ghost of Christmas Present, he learns just how ill Tim really is, and that Tim will die unless he receives treatment (which the family cannot afford due to Scrooge’s miserliness). When he’s next visited by The Ghost of Christmas Yet to Come, all he can see is Tim’s little wooden crutch because Tim has died. This and several other harrowing visions, lead Scrooge to reform which begins from the moment he wakes up on Christmas morning and shocks his cleaning lady Mrs. Dilber (Sharon Lockwood channeling Bewitched’s dingy Aunt Clara ) by thanking her, paying her generously and giving her the holidays off.
A reformed Scrooge (James Carpenter, center) celebrates the season with his nephew, Fred (A.C.T. Master of Fine Arts Program student Jason Frank, far left), Fred’s wife, Mary (A.C.T. Master of Fine Arts Program student Maggie Leigh, second from left), and the Cratchits: Bob (A.C.T. core acting company member Manoel Felciano), Anne (Delia MacDougall), and Tiny Tim (Graham Bennett). Photo: Kevin Berne.
Val Caniparoli’s choreography is fantastic—lots of lighthearted dancing and movement that show off the period costumes designed for the production by Beaver Bauer of Teatro ZinZanni. Dickens’s lovely descriptions of the abundance of Christmas bounty are staged creatively at the start of Act 2 as “The Waltz of the Opulent Fruit,” with six charming young Bay Area actors taking on the roles of dancing French plums, Turkish figs, and Spanish onions. The production will infuse one and all with holiday cheer and is highly recommended for families and children of all ages.
Details: American Conservatory Theater, 415 Geary Street, San Francisco.
7 p.m.: December 20, 21, 22, 23
5:30 p.m.: December 18
2 p.m.: December 21, 22, 23, 24
1 p.m.: December 18
Run-time: Two hours including one intermission. Tickets: $15-$105, available online through the A.C.T. online box office , or by phone (415) 749-2228. For all performances, no children under the age of 5 are permitted
review: Pinter’s “The Homecoming” at San Francisco’s A.C.T. is still pathologically disturbing after 47 years, runs through March 27, 2011
Written in 1964, Harold Pinter’s The Homecoming was revolutionary in its exploration of the dark and dysfunctional side of family and marriage. The original Broadway production won the 1967 Tony Award for Best Play and its 40th anniversary Broadway production at the Cort Theatre was nominated for a 2008 Tony Award for “Best Revival of a Play.” Now at San Francisco’s A.C.T. (American Conservatory Theatre), The Homecoming is a must-see for its superb acting, anchored by A.C.T. core actors René Augesen as Ruth and Jack Willis as Max the family patriarch. And while it’s no longer the cutting- edge provocateur it once was, it is one of the most profoundly disturbing and exceptional portraits of a family to be found. That’s because in the play’s near half decade of existence, our society has evolved to the point where we can recognize bits of ourselves in these wounded and intriguing characters and admit they embody a primal darkness that lies in all of us. We’ve almost caught up with Pinter.
Lenny (Andrew Polk) puts on an aggressive front for his brother’s wife, Ruth (A.C.T. core acting company member René Augesen). Photo by Kevin Berne
The Homecoming is the story of a long absent son, Teddy (Anthony Fusco) who shows up in the middle of the night at his family home in North London with his wife, Ruth (René Augesen). Teddy, a philosophy professor in the Midwest, seems to have little in common with the working-class relatives he left behind: Max, his father, (a butcher)(Jack Willis) and his younger brother Sam (a driver)(Kenneth Walsh) and Max’s two grown sons who still live at home, Lenny (pimp)(Andrew Polk) and Joey, the youngest (a boxer)(Adam O’Byrne). They are all what a therapist might call trigger happy–constantly warring, trying to one up each other as they act out an ingrained pattern of lobbing hurtful responses back and forth. Anything and everything is up for grabs—they fight over a cheese roll as passionately as they discuss philosophy, constantly vying for power. As soon as Ruth enters the picture, they all compete for her attention.
In Harold Pinter's The Homecoming at A.C.T. though March 27, 2011, Max (A.C.T. core acting company member Jack Willis, left) and his sons, Joey (Adam O’Byrne, second from right) and Lenny (Andrew Polk, right), have unexpected plans for Ruth (A.C.T. core acting company member René Augesen). Photo by Kevin Berne.
By the second act, Ruth, who was initially quiet, grows misogynistically pathological and cranks her own game into high gear, ultimately calling the shots in the family. Augesen laces every word and gesture with ambiguity, hauntingly alluding to Ruth sexual past. It’s a curious experience to watch a family implode before your eyes and at the same time to be wondering what it would be like to be any of them, as repulsive as each of them are.
Acclaimed theatrical designer Daniel Ostling’s stage set, with its inward tilted walls, vertigo-inducing wooden staircase and stark lighting enhances the feeling of suffocating oppression within the family. Thick clouds of fragrant cigar smoke and evocative jazz frame many of the conversations while Alex Jeager’s costumes for Ruth, particularly a form-fitting red silk dress, aid her in stealing power from right under the noses of these men.
Details: The Homecoming plays at the American Conservatory Theater, 415 Geary Street, San Francisco, through March 27, 2011. Tickets ($10-$85) are available by calling the A.C.T. Box Office at 415.749.2228 or at A.C.T. online box office.
review: God Bless us, everyone! A heartwarming performance of Dickens’ classic “A Christmas Carol” through December 24 at San Francisco’s A.C.T. (American Conservatory Theatre)
The Ghost of Jacob Marley (A.C.T. core acting company member Jack Willis, left) haunts Scrooge (James Carpenter) on Christmas Eve to save his soul, warning him of the three other ghosts that will visit him. Photo: Kevin Berne
The holiday season for me means time spent with family and friends and getting back in touch with my “goodwill towards all” vibe. Tuesday evening, after a romp through a bustling and very commercial Union Square, I had the pleasure of attending A.C.T.’s “A Christmas Carol” and highly recommend this family-friendly classic for setting spirits right. The performance (with intermission) runs two hours and the evening show begins an hour early at 7 pm, with additional 1 or 2 pm performances nearly every day. This makes it a doable evening outing for families with kids or for those who are from the greater Bay Area and face a long drive home.
“A Christmas Carol” was written by Charles Dickens and published in somber Victorian-era Britain in December 1843, when new customs such as the Christmas tree and greeting cards were just being introduced. This was before Christmas became today’s highly commercial venture but also during a time when there wasn’t much gleeful celebration. The novella was an instant hit, largely for its memorable characters and its realistic depictions of the hardships of the working class which people related to. It also infused people with hope and has been credited with putting the “merry” in Merry Christmas in England and America during a stifling period. It was pirated immediately and adapted to the stage and the rest is history. Now in its 34th year at A.C.T., the play is a cornerstone of A.C.T.’s repertory and has become a holiday tradition for families all around the Bay Area. Adapted by Paul Walsh and Carey Perloff, and directed by Domenique Lozano, this version has been around since 2004 and has been performed over a thousand times and stays true to the heart of Dickens’ timeless story of redemption.
Scrooge (James Carpenter, center) is touched by Christmas memories of his younger self (Tony Sinclair) and his sister, Fan (Emma Rose Draisin). Photo: Kevin Berne.
We all know the classic tale of Ebenezer Scrooge’s wake-up call and it rings ever true today. Rich Ebenezer Scrooge was a miser and a kill joy–not very loving, giving, or even friendly. James Carpenter, now in his fifth year in this role, doesn’t flinch from playing Scrooge’s harsh sides to the hilt but he also shows us a man who is completely and tragically unaware of how stuck and disagreeable he has become. In Northern CA, we all know what happens when there’s no flow and Scrooge embodies the big “NO” with every ounce of his being.
By contrast, impoverished Bob Cratchit, who is Scrooge’s clerk and whipping boy, hasn’t a schilling to his name but he has vast inner resources– a true heart of gold- and a large loving family. Cratchit is played with genuine warmth and dignity by Nicholas Pelczar whose radiance is matched by Delia MacDougall’s portrayal of his equally good-hearted wife, Anne Cratchit. The Cratchit’s material hardship makes the wealthy Scrooge seem all the more despicable, even pitiable, because he cannot enjoy or share the massive fortune he has amassed. Dickens realized that if Scrooge’s imagination could be stimulated, it would be possible for him to wake up on Christmas morning an entirely new man and that’s the message of the play. Scrooge’s remarkable transformation—ideological, ethical and emotional– is brought about by the visits of four ghosts on Christmas Eve—Jacob Marley (his former business partner) and the Ghosts of Christmases Past, Present and Future. At Tuesday’s press opening, the show was full of marvelous special effects associated with the visits of each of these ghosts who led Scrooge through some very poignant and harrowing scenes from his life. Jack Willis, who returns as the Ghost of Jacob Marley, set the pace by robustly rising from Scrooge’s bed, rattling chains and warnings amidst clouds of smoke. The Ghost of Christmas Present, played delightfully by A.C.T.’s Steven Anthony Jones, emerged in striated green velvet as a jovial and lusty Bacchic spirit of abundance.
And then there’s Tiny Tim (little Timothy Cratchit), the play’s emotional center, played wonderfully by young Sadie Eve Scott. When Scrooge is visited by The Ghost of Christmas Present, he learns just how ill Tim really is, and that Tim will die unless he receives treatment (which the family cannot afford due to Scrooge’s miserliness). When he’s next visited by The Ghost of Christmas Yet to Come, all he can see is Tim’s little wooden crutch because Tim has died. This and several other harrowing visions, lead Scrooge to reform which begins from the moment he wakes up on Christmas morning and shocks his cleaning lady Mrs. Dilber (Sharon Lockwood channeling Bewitched’s dingy Aunt Clara ) by thanking her, paying her generously and giving her the holidays off.
A reformed Scrooge (James Carpenter, center) celebrates the season with his nephew, Fred (A.C.T. Master of Fine Arts Program student Patrick Lane, right), Fred’s wife, Mary (A.C.T. Master of Fine Arts Program student Jenna Johnson, second from right), and the Cratchits: Bob (A.C.T. Master of Fine Arts Program alumnus Nicholas Pelczar), Anne (Delia MacDougall), and Tiny Tim (Sadie Eve Scott). Photo: Kevin Berne.
Val Caniparoli’s choreography is fantastic—lots of lighthearted dancing and movement that show off the period costumes designed for the production by Beaver Bauer of Teatro ZinZanni. Dickens’s lovely descriptions of the abundance of Christmas bounty are staged creatively at the start of Act 2 as “The Waltz of the Opulent Fruit,” with six charming young Bay Area actors taking on the roles of dancing French plums, Turkish figs, and Spanish onions.
Details: American Conservatory Theater, 415 Geary Street, San Francisco.
Remaining Performances–
7 p.m.: December 10, 11, 15, 16, 18, 20, 21, 22, 23
5:30 p.m.: December 12, 19
2 p.m.: December 9, 11, 21, 22, 23, 24
1 p.m.: December 12, 19
Run-time: Two hours including one 20 minute intermission.
Tickets: $15-$102, available online through the A.C.T. online box office , or by phone (415) 749-2228. For all performances, no children under the age of 5 are permitted
Theatre Review: ACT’s “The Tosca Project” – a dance journey through time toasting the beloved Café Tosca
The three original owners (from left: Nol Simonse, Kyle Schaefer, Peter Anderson) celebrate the opening of Tosca Cafe in 1919. Photo by Kevin Berne.
Saturday night’s world premiere production of “The Tosca Project” at ACT (American Conservatory Theatre) (through July 3, 2010) marked the first time I had been to the historic Geary Street theatre since I stopped my season subscription two years ago. I love good theatre and had subscribed to ACT for several years. Increasingly though, I found myself struggling to connect emotionally with the stories and characters. Lacking the private Ah-ha moments that actively engage the senses and intellect, the experience too often seemed flat. At nearly $75 a pop for Orchestra seats (plus parking and incidentals like gas and bridge faire), I began to begrudge the expenditure and the considerable chunk of time invested in a drive into the City for a less-than spectacular evening.
Having given it a rest, I was eager to see “The Tosca Project” and to revisit ACT. ACT’s artistic director Carey Perloff and SF Ballet choreographer Val Caniparoli worked together on this piece for four years which Caniparoli calls “a character study through movement.” San Francisco’s Café Tosca ranks as one of my favorite old-European style bars in America–a place that time forgot. The collaboration with the San Francisco Ballet held the promise of new energy.
The experience was pleasant but not memorable—the dancing carries the show but the storyline is so underdeveloped that it doesn’t do jthis famous watering hole justice. Nor is there enough sustained dance in the 10 rapid-fire vignettes– lasting 90 minutes in all– to feel satisfied with it as a complete dance piece.
The Bartender (Jack Willis, right) remembers his younger self (Kyle Schaefer, center) and the his long-lost love that he left behind in Italy (Sabina Allemann). Photo by Kevin Berne.
The idea itself is brilliant—a homage to San Francisco’s iconic Café Tosca, now 91, grounded in the history of San Francisco and set to an enthralling score of music ranging from Puccini’s Tosca to Rosemary Clooney singing “What’ll I Do?” to Jimmy Hendrix. Anyone who has ever been to the Café Tosca is keenly aware of the bar’s old world atmosphere and mystery–the play of light and shadow against that long solid mahogany bar, the burnished glint of copper from the espresso machine and the lingering melancholy permeating the booths. Current owner Jeanette Etheredge plays hostess to a glamorous celebrity crowd along with eccentrics, tourists and locals. While the world outside changes, Cafe Tosca doesn’t: the secrets, demons, and dreams of generations are well-tended ghosts. All this makes for great theatrical content– the characters hold their emotional histories in the space of the bar and the journey of the piece is the excavation of those histories. Instead of mining these connections, the production offers a furry of brief—albeit lovely—sequential dance encounters that speed by without enough grounding for viewers to really invest themselves in any of the characters or the bar itself.
The Immigrant (Rachel Ticotin) brings a piece of her Russian homeland into the bar with her. Photo by Kevin Berne.
The production opens as the founding bartender (Jack Willis) and his two business partners first arrive in San Francisco from Italy near the end of WWI. The bartender is haunted by a ghost–a woman from his past, reminiscent of the melodramatic heroine from Puccini’s Tosca. One of the bar’s first customers is an immigrant (Rachael Ticotin). A regular at the bar, she becomes its soul, anchoring it through time as a home for those without a homeland.
Prohibition comes just months after the bar opens and forces a clever change of menu. Café Tosca begins to booze up its coffee—the “coffee royale” is the genesis of Tosca’s now signature “house cappuccino”— Ghiradelli chocolate, steamed milk and shot of brandy.
A ballet diva (Sabina Allemann) enchants a businessman (Peter Anderson) in Tosca Cafe. Photo by Kevin Berne.
During the Great Depression, a musician on the run from the law finds a haven in the bar and ends up with a job there. The action is then anchored around the trio of bartender, musician and Russian immigrant who reveal their tragic stories to each other and in the sharing find solace and healing. What is revealed directly to the audience though is precious little. Unless you read the program notes or the Words on Plays you are likely to be grappling as to who’s who and what’s transpiring in this nearly wordless production. The immigrant, for example, clutches a set of matryoshka (nested dolls). Those who can see them might deduce she is Russian but nothing about her tragic past–that she left her husband and baby behind– or that her great love of Russian dance and poetry connects her symbolically to current owner Jeanette Etheredge’s mother Arman Baliantz. Baliantz
The members of the ensemble of The Tosca Project (from left: Sara Hogrefe, Kyle Schaefer, Lorena Feijoo, Pascal Molat, Peter Anderson, Nol Simonse). Photo by Kevin Berne.
established her own North Beach restaurant (Bali’s) and befriended a diverse array of artists, including the great Rudolf Nureyev, who is represented in one of the later vignettes. The lack of detail transforms the unique history of these patrons and of Cafe Tosca into universal patrons at a universal bar. With relationships between the characters as hazy as cigarette smoke lingering in the bar, there is little to hook the audience in emotionally.
The dancers clearly steal the show, beginning with a classical ballerina who gracefully pirouettes across the bar in a dream conjured up by the old bartender. Hopping along from Prohibition to the Great Depression to the flappers to WWII to the Beats to the hippies and digitalis, each new era is ushered in by a change in the music on the jukebox, a new dance fad and new fashion. The transitions are seamless but the performance begins to feel more like a generic dance sampler than the advertised “valentine to San Francisco.”
A humorous duo between the businessman (Canadian actor Peter Anderson) and classical ballerina (Sabina Alleman) is captivating and had the audience clapping wildly at the performance I attended. Anderson, who starred in ACT’s 2005 riveting wordless adaptation of Gogol’s “The Overcoat” also shines as a Beat poet reciting Lawrence Ferlinghetti’s “I Am Waiting” to a bar full of Beats and tourists. The trio of characters around which the performance is built remain emotionally distant throughout. The experience definitely calls for a drink afterwards and ticket holders are entitled to a buck off their tab at Cafe Tosca.
June 3- July 3, 2010, American Conservatory Theatre, 415 Geary Street, San Francisco, CA 94108, tickets: $17 to $89. Tickets and info (415) 749-2228, www.act-sf.org
