ARThound

Geneva Anderson digs into art

Cinnabar Theater’s “Of Mice and Men,” through April 13, 2014

 

Cinnabar Theater in Petaluma presents John Steinbeck’s masterpiece “Of Mice and Men,” starring Samson Hood (left) as Lennie and Keith Baker (right) as George.  The unlikely friends drift from job to job across the farms and fields of California, holding fast to their dream of one day having an acre of land they can call their own.  Photo by Eric Chazankin)

Cinnabar Theater in Petaluma presents John Steinbeck’s masterpiece “Of Mice and Men,” starring Samson Hood (left) as Lennie and Keith Baker (right) as George. The unlikely friends drift from job to job across the farms and fields of California, holding fast to their dream of one day having an acre of land they can call their own. Photo by Eric Chazankin)

The 1937 New York Times review of the Broadway stage production of John Steinbeck’s “Of Mice and Men” reads “If the story were callously told, the conclusion might be unbearable. But Mr. Steinbeck has told it with both compassion and dexterity…In the bunkhouse of a ranch in CA, the story ensnares rootless lives and expands into dreams of a glorious deliverance. (Brooks Atkinson , original review Nov 24, 1937, NYT, p. 20.) It’s now seventy-seven years later and the play, performed at Petaluma’s Cinnabar Theater under the tight direction of Sherri Lee Miller, delivers all the potency and magic that it had back in the Great Depression when audiences could personally relate to the bleak life of migrant workers. Most of us read the novella in high school and were under strict pressure to knock out an essay on some aspect of Lennie and George’s relationship. Revisiting the story and its archetypal characters as adults is another experience all together. Miller has pulled together a team of impeccable actors who bring these tragic characters to life and revitalize their struggles. The audience on opening evening was squirming with anticipation and revulsion at the injustice of Lennie’s plight, the imploding of dreams and the ugly, unquestioned racism of the times. ­­

Set in the 1930’s, the play is carefully staged by Joe Elwick to reflect the grit and sparseness of ranch-hand life in Salinas Valley at the time. From the opening scenes at the riverbank, marked by a simple line of rocks along the stage line, to the sturdy simplicity of the handcrafted log cabin bunk house, which serves as a humble home for the workers, to Crook’s isolated room in the hay barn; the set works both as a backdrop and catalyst. And in Cinnabar’s intimate space, it all makes for a near perfect experience. I’d be willing to bet that the Broadway revival opening in April at the Longacre Theatre with James Franco as Lennie has nothing over Cinnabar’s.

Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece “Of Mice and Men,” featuring (L to R) Kevin Thomas Singer, Samson Hood, Tim Kniffin, and James Gagarin.  After the boss’s son Curley attacks Lennie for no good reason, Lennie squeezes Curley’s hand too hard and crushes it.  Slim tends to Curley while lumbering Lennie is shocked at what he has done.  Photo by Eric Chazankin

Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece “Of Mice and Men,” featuring (L to R) Kevin Thomas Singer, Samson Hood, Tim Kniffin, and James Gagarin. After the boss’s son Curley attacks Lennie for no good reason, Lennie squeezes Curley’s hand too hard and crushes it. Slim tends to Curley while lumbering Lennie is shocked at what he has done. Photo by Eric Chazankin

The great pleasure in the production comes from watching Samson Hood embody Lennie, who is mentally challenged. It’s not much of a stretch for him physically—he’s a giant of a man with huge hands and a lumbering gate that already speak volumes. But the magic is in his thoroughly convincing facial expressions and the absolute sincerity of his child-like delivery, whether he’s hunched over and trying to hide that he has stroked his little mouse to death, or is excitedly dreaming of raising rabbits and living off the fat of the land or is spilling secrets that he’s been asked to keep quiet about. Kind-hearted and simple Lennie doesn’t understand the power of his own strength or the complexity of the world or the ugliness of human nature and he is completely dependent on George to navigate his course.

 As George, Keith Baker, is an intriguing combo of protective caregiver and a go-getter with big dreams. He is gruff and impatient with Lennie one moment and then, after lashing out, he whips back to tender and sentimental. The friendship is exacts a heavy toll on George who must constantly protect and cover up for George as they drift from job to job holding on to their dream.

James Gagarin plays Curley, the ranch-owner’s son with such spite and fury towards everyone that we shudder with revulsion and feel no empathy him when his hand is crushed accidentally by Lennie.

As one-armed Candy, Steinbeck’s for foil the aged and abandoned, Clark Miller manages to convincingly convey the pain of isolation and physical frailty. The scene involving the shooting of his ancient and beloved dog will tug at your conscious. It’s made all the more dramatic by the using a real dog who is old but not so decrepit as to be near death. The idea of shooting it to put it out of its misery seems wrong and is one of the play’s more dramatic moments, beautifully navigated by Clark Miller and by Anthony Abaté who plays callous Carlson with bone-chilling precision.

After the loss of his dog, Candy has nothing to live for but after he overhears George and Lennie discussing the farm, he offers them his life savings (some $250) to go in on the farm and he has something to fix his dreams on. Steinbeck’s play is full of dreaming and, in contrast, the harsh reality of the life of itinerant workers. The men poor their blood and sweat into keeping up the owner’s ranch for a minimal wage and three daily meals—work may keep a man honest but the capitalist system is stacked against the worker who toils his entire life and never advances.

As Crooks, the black stable hand who is forced to live in the barn, Dorian Lockett is cagey, defensive and so disempowered that he is wary of everyone. The repeated use of the word “nigger” predictably drew cringes from the Cinnabar audience who had empathy for Crooks’ plight and recognized his insightfulness and warmth once he let his guard down and began to dream of a place, a piece of land, where he too could be free.

Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece “Of Mice and Men,” featuring Dorian Lockett as Crooks.  Photo by Eric Chazankin

Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece “Of Mice and Men,” featuring Dorian Lockett as Crooks. Photo by Eric Chazankin

Ilana Niernberger, Curly’s vulgar wife does a marvelous job of guiding the audience through a love-hate relationship with her. At first, she appears to be a tart who flirts shamelessly with the workers and is interested in stepping out on her new husband Curly. In the barn, alone with the men, we see her vulnerability and that she is lonely and craves emotional attachment and conversation. Her flirtatious nature ushers in the play’s tragic climax. When she coaxes Lennie to stroke her hair, she finally and fatally understands that he is not able to gauge the power in his touch. Her screams for help only worsen things. As Lennie covers her mouth and tells her to be quiet, he breaks her neck.

The play’s emotional trajectory goes from hope in the American Dream to the shattering of that hope. Cinnabar has taken this great classic and elegantly brought it to life.

Run-time: Two hours and 20 min, including one intermission

Creative Team: Of Mice and Men stars Keith Baker and Samson Hood as the famous friends, George and Lennie. The ensemble of talented actors also features Anthony Abaté (Carlson), James Gagarin (Curley), Tim Kniffin (Slim), Dorian Lockett (Crooks), Clark Miller (Candy), Ilana Niernberger (Curley’s wife), Kevin Singer (Whit), and Barton Smith (The Boss). Directed by Sheri Lee Miller.

Design Team: Joe Elwick (scenery), Pat Fitzgerald (costumes), Wayne Hovey (lights), Jim Peterson (sound). This production is generously underwritten by Sandra O’Brien and Elly Lichenstein.

Details: Of Mice and Men  has been extended an additional week through April 13, 2014, at Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma, CA 94952. Performances: 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. Tickets: $15 for ages 21 and under; $25 for adults. Purchase tickets online here or call Cinnabar’s Box Office at 707 763-8920 between 10:00 AM and 3:00 PM on weekdays. Tickets may also be available at the door 15 minutes prior to each performance, but pre-purchase is recommended as Cinnabar shows tend to sell out!   For more information about Cinnabar Theater — www.cinnabartheater.org .

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March 26, 2014 Posted by | Theatre | , , , , , , , , , , , , , , , , , , , | Leave a comment

Opera review: Cinnabar Theatre’s “Don Giovanni,” a new production that is sure to ignite your passions, through April 15, 2012

Baritone Anders Froehlich is the captivating Don Giovanni in Mozart’s enduring classic of the same name which opened at Cinnabar Theatre on March 23, 2012. Photo: Eric Chazankin

When Cinnabar Theatre cast baritone Anders Froehlich for the title role in their new production of Mozart’s Don Giovanni, the classic retelling of the Don Juan legend, they were half way home.  Not only can Froelich sing, but he has the physique of a lean and muscled Romeo.  And, he so convincingly plays the part of Mozart’s suave, seductive, and morally reprehensible aristocrat, that it’s pure pleasure to sit back and experience being seduced by him.  Add to that baritone Eugene Walden’s remarkable performance as Leporello, Giovanni’s faithful but grumbling sidekick, and this production soars.  Truth be told, the entire cast is superb, the music is glorious and the production is so creative that it represents the opera’s tremendous dramatic possibilities as well a small theatre company at it best.

Soprano Kelly Britt, a 2011 graduate of the San Francisco Conservatory of Music, makes her Cinnabar Theatre debut as Donna Anna in Mozart’s opera “Don Giovanni,” which runs through April 15, 2012. Photo: Eric Chazankin

One of the most amazing aspects of this 225 year-old opera is that it is so filled with fabulous ambiguities, that almost every production emphasizes something different.  Cinnabar’s production, staged by Elly Lichtenstein, gives us a Don Giovanni whose beguiling and complex personality is matched by the equally complex women he encounters.  After the opening night performance, I found myself ruminating on these women—what they represented in their time and what they bring to the table in the here and now.  There’s the unhinged young Donna Anna (soprano Kelly Britt), who has, in the very least, been ravished by Don Giovanni and is mourning the death of her father, who was murdered trying to defend her honor.  Normally, she’s depicted as icy cold and hell-bent on retaliation. Here, we also see her warmth and humanity.  There’s matronly Donna Elvira (mezzo soprano Eileen Morris) who has been jilted by Giovanni and she too seeks revenge and but, beneath the hurt, she still loves him and can’t free herself of her co-dependent obsession.  When she tries to protect young Zerlina from Giovanni’s reckless ways, we see a preservation instinct that we wish she’d exercise on herself.  There’s the young peasant girl Zerlina (soprano Emma McNairy), who loves Masetto but is also taken in by the suave Giovanni’s proclamations and the high life he represents.  She wants both men and, for a moment, deludes herself into thinking that this can work.  And then there is the chorus of women, voluptuous nymphs in all shapes and sizes, writhing in full sensual abandon with each other and with Don Giovanni.  The opera’s rich comic and tragic elements are driven by all these interactions and Lichtenstein has really made Giovanni’s journey—to eternal damnation—one riveting ride.

Don Giovanni (baritone Anders Froehlich, right) attempts to seduce the young peasant girl Zerlina (Soprano Emma McNairy, left) at her own wedding party. Photo: Eric Chazankin

23 year-old soprano Emma McNairy was delightful as Zerlina.   Winner of the San Francisco Conservatory’s 2011 Voice Concerto Competition, McNairy’s expressive voice shows incredible range and she has a commanding stage presence. And did she snap into character!  She played Zerlina as sweet and crafty, bringing a refreshing and realistic complexity to the role.  Her pairing with William O’Neill as Masetto, her hunky intended, produced some of the opera’s most fiery moments, another example of the sizzling chemistry that makes this production pop.

Soprano Kelly Britt as Donna Anna was striking—her distinctive voice was smooth, powerful, and evocative.  From the moment she appeared, she displayed a whirlwind of emotional extremes that made the impact of Donna Anna’s rape, or ravishing, by Don Giovanni and the sudden death of her father seem very real.   The twenty-three year-old has that extra something coursing through her that produces a riveting sound, not yet honed to perfection but on its way, and that’s very exciting to experience.

First to appear and last to utter a solo, baritone Eugene Walden was a thoroughly engaging Leporello.   One of the opera’s most humorous moments occurred during his lighthearted “Catalog Aria,” (Madamina, il catalogo è questo) (Act I, Scene v).  As the beleaguered Leporello sings the amazing tally of his boss’s conquests to Donna Elvira, he pulls out a seemingly endless accordion book, chock full of women’s faces and descriptive notes, and flings it towards Donna Elvira.  This gesture so captivates and infuriates her that she engages in a tug of war with him over the book.  This is just one of Elly Lichtenstein’s clever and amusing touches whose effect is priceless.  Another of these magical moments occurs with the famous balcony serenade at the beginning of Act II.  Just behind the singer and through a widow, we see a very seductive striptease occurring between two voluptuous women in silhouette—the scene is gorgeously back lit and has all the resonant flair of a fan dance.  As the women almost get it on, you can feel the heat rising in the audience.  The sensuality is carried through to the famous banquet scene, done wine country style, with Giovanni dining on plump grapes and scantily-clad women.  In the opera’s final chilling scene, the powerfully built John Minágro, who makes a very commanding Commendatore, now turned singing statue, comes to swoop Don Giovanni to his just desserts—hell.  Froelich’s Don Giovanni’s is so intoxicating that, even on his way to hell, he still gets to us.

Cinnabar Theatre’s “Don Giovanni,” has inventive props. Here baritone Eugene Walden, Leporello, sings his famous “catalog aria” to Eileen Morris, Donna Elvira, and flings a seemingly endless accordion-style book that documents his boss’s many romantic conquests. Photo: Eric Chazankin

One of the pleasures of the hearing Mozart’s dramatic music played in the intimate 99 seat setting that Cinnabar offers is that every musician stands out.   Conductor Mary Chun and the orchestra of 10 did a valiant job, offering an elegant and cohesive blending with the voices on stages, but at times the sound seemed understated.  I had never heard the opera sung in English before, which is the only opera experience that Cinnabar Theatre provides, keeping with founder Martin Klebe’s wish to make opera accessible to all audiences.  The main advantage is an immediate understanding of the story, which means it’s very easy to take it all in and you’re not scrambling with translation.  If you know the opera in Italian, its beloved arias such as There, we will entwine  our hands (Là ci darem la mano), (Act I, between Zerlina and Giovanni) are made all the more enjoyable by singing them in Italian in your mind and checking your Italian against the English as you go.

Music by W.A. Mozart, Libretto by Lorenzo da Ponte, Sung in English (da Ponte’s full translation/libretto translation of Don Giovanni is available free online here.)

Mary Chun artistic director/conductor; Elly Lichtenstein, Stage Director

 

The Cast, in order of appearance: 

Leporello— servant to Don Giovanni, Eugene Walden

Don Giovanni—Anders Froehlich

Donna Anna—Kelly Britt

The Commendatore, Anna’s father—John Minágro

Don Ottavio, Anna’s fiancé—Mark Kratz

Cinnabar Theatre’s production of “Don Giovanni,” is staged and lit ingeniously. Here baritone Anders Froehlich, as Don Giovanni, sings against a dramatically back-lit window where silhouettes of sensuous delights unfold before the audience. Photo: Eric Chazankin

Donna Elvira—Eileen Morris

Zerlina— Emma McNairy

Masetto, Zerlina’s fiancé— William O’Neill

Sandrina, Leporello’s love—Arden Kwan

Paul Gilger, set design; Wayne Hovey lighting design, Tracy Hinman Sigrist, costume design, Barton Smith, choreography

 

Underwritten by Frank and Mary Lou Schomer and The A to Z Concert series.

Details:  Cinnabar Theatre is located at 3333 Petaluma Blvd. North (at Skillman Lane), Petaluma, CA, 94952.  Tickets online: $35 General, $32 Seniors 65 & Over, $25 Age 22 & Under.  Tickets also be purchased before the performance but pre-purchase of tickets is  highly recommended as the theatre is small.  Early arrival is also recommended as there is no assigned seating.   For more information, call 707-763-8920 or visit http://www.cinnabartheater.org

Run time is 2 hours and 20 minutes, with one intermission.

There are 5 remaining performances:  Wednesday April 4, 2012, at 7:30 p.m., Saturday, April 7, 2012, at 8 p.m. Friday, April 13, 2012, at 8 p.m., Saturday, April 14, 2012, at 8 p.m. and Sunday, April 15, 2012, at 2 p.m.

April 3, 2012 Posted by | Opera | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment