ARThound

Geneva Anderson digs into art

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

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November 9, 2012 Posted by | Theatre | , , , , , , , , , , , , , , , | Leave a comment

review: Aurora Theatre Company opens its 21st season with the Bay Area Premiere of “The Elaborate Entrance of Chad Deity,” inviting the Berkeley audience to get primal over wrestling

“The Mace” (back, Tony Sancho) watches the elaborate entrance of fellow THE wrestling association wrestler “Chad Deity” (center, Beethovan Oden) in the Bay Area Premiere of Kristoffer Diaz’s “The Elaborate Entrance of Chad Deity,” at Aurora Theatre Company through September 30, 2012. Photo: David Allen

Professional wrestling, of course, is a sham—scripted right down to the last pulsating peck.  Still, there’s something primordial and bizarrely addictive about watching muscle-bound superheroes in spandex groan, grunt and holler as they pummel each other with drop kicks, flying body presses, and other daredevil maneuvers.   The Elaborate Entrance of Chad Deity, a finalist for the Pulitzer Prize, by Obie Award winner Kristoffer Diaz, had its Bay Area premiere at Berkeley’s Aurora Theatre Company last week.  The play is a fun, clever and engrossing satire bringing us right into the colorful the world of professional wrestling and its stock-in-trade characters.  Friday night’s performance was electric, offering the audience, a few of whom came dressed in costume, a chance to amp up and cut loose as they entered an epic battle of good versus evil in the ring.  And what a ring it was!  Set designer Nina Ball outdid herself transforming Aurora’s intimate three-quarter round house into a convincing professional wrestling ring surrounded by colorful lights and elevated platforms where the wrestlers posed.  A pre-show warm-up round with wrestler Billy Heartland (Dave Maier) gave the audience a tutorial on how to re-act to each of the characters— with cheering, heckling or chanting.  Heartland even pulled a woman from the audience up into the ring to assist him.  She did so well that I wondered if she was a plant.  Two mammoth video screens provided riveting close-ups of the wrestling, sexy go-go girls (the only females in this play) and projected introductory videos of each character—a very skillful collaboration of light, sound and video from Aurora’s talented team.  It was just like being in Vegas and taking in the real deal—skin and a lot of adrenaline flowing.

The story’s narrator is Macedonio Guerra aka “the Mace” (Tony Sancho), a young Puerto Rican professional wrestler who is the fall-guy for the star, “Chad Deity.”  Sancho gives an impassioned and edgy performance as a man who’s smarting from a career that didn’t pan out as anticipated who is struggling to find meaning in his life and to see his own value.  Sancho’s Macedonio speaks like a cultural anthropologist, explaining not only what’s going on in his head but the whole culture of wrestling invoking a series of fascinating connections and intersections.  As he describes how he was drawn to wresting in his childhood and walks us through his moves that enable the hero, we begin to understand that wrestling requires stamina, physical skill and the ability to let oneself be used and demeaned, as a pawn in a ratings game.  The burning question: how could someone this astute settle for being someone’s fall guy?

The reigning All-American hero, Chad Deity (Beethovan Oden) is served up as beefcake— a flashy black man sporting gold hair and tight spandex who preens, struts, grunts, and wins.  He’s reached the pinnacle of success in wresting.  He sports a prodigiously large belt buckle, gets the big salary and he spends lavishly but he doesn’t really do the work.  That is left to little noticed and less appreciated Macedonio, who jumps to make it look like the burly Chad is lifting him in the air.   Chad is Olson’s satirical nod to the successful, or not, assimilation of blacks in our society.  Oddly, the most memorable line Chad Deity delivers comes during his riff on the money he has and what it’s bought—giant refrigerators with multiple crispers that he doesn’t even use.  His young son has refrigerator in his playroom and he uses that crisper to keep his action heroes cold.  There’s a lot about Chad Deity that we just don’t know and will never know.  And the playwright doesn’t provide us with a lot of backstory or insight to humanize these characters beyond the silly roles they play.

Their promoter and employer, the greasy Everett K. “EKO” Olson (Rod Gnapp), founder of the circuit called THE Wrestling, milks the cash-cow for all its worth and is constantly seeking to stir the pot, raise the stakes and hook the crowd.

Mace (left, Tony Sancho) and VP (right, Nasser Khan), dressed as their wrestling alter egos “Che Chavez Castro” and “The Fundamentalist,” defeat Billy Heartland (center, Dave Maier) in the Bay Area Premiere of “The Elaborate Entrance of Chad Deity.” Photo: David Allen

The fight physicality is impressive and authentic.  The wrestlers’ moves—attacks and throws—are all choreographed by Dave Maier and went off without a hitch, creating the impression that pain was inflicted with each resounding thud, kick or twist of the limb. (A video below includes segments of the actors talking about their intense preparation for this demanding production.)

When Macedonio recruits Vigneshwar Paduar (Nasser Khan), the wrestling script changes.  VK is a young man of Indian descent from Brooklyn, who has dark skin, and could easily pass as having any number of racial backgrounds.  EKO first trots him out as a Latino and then embellishes him with a long beard, a white robe and recasts him as “The Fundamentalist,” a villain Muslim, who along with his sidekick, Mace, is out to destroy the American hero Chad Deity.  Khan’s character was the least well-developed in the show, even though the actor made the most of the lines he was given and got some good laughs with his polyglot high-jinks.  Is he a visionary or just a cynical kid who wants to make some quick money?  I couldn’t tell.

The ah-hah moment comes as Mace gets fed up with EKO and hooks up with VK in a rebellion that ultimately fizzles.  At the abrupt end of play, we are left high from the cheering and jeering that we’ve engaged in for 2 hours and with great compassion for Macedonio in particular.  His intellect and insight seemed key to his escaping his demeaning role.  I had the unsettling feeling of not being altogether clear about what it was all supposed to mean.

As part of the theatre audience who is also the wrestling audience, we are essentially watching ourselves watching the spectacle and co-creating the spectacle and that’s fascinating.  From that vantage point, there’s no escaping the powerful scripted stereotypes that limit and entrap those in wrestling, and all realms of our society, that we perpetuate.

Production team:  written by Kristoffer Diaz; directed by Jon Tracy; set design Nina Ball; costumes Magie Whitaker, sound design by Cliff Caruthers, lighting design by Kurt Landisman, video design by Jim Gross

Cast:  Rod Gnapp as promoter EKO (or E.K. Olson), Tony Sancho as wrestler “The Mace” or Macedonio Guerra, Beethovan Oden as wrestler Chad Diety, Dave Maier as wrestler Billy Heartland, and Nasser Khan as wrestler VP or Vigneshwar Paduar

Behind the Scenes of THE ELABORATE ENTRANCE OF CHAD DEITY at Aurora Theatre Company

 

Details:  The Elaborate Entrance of Chad Deity runs through September 30, 2012.  Performances: Tuesdays at 7pm; Wednesday through Saturday at 8pm; Sundays at 2pm and 7pm.  The Aurora Theatre is located at 2081 Addison Street, Berkeley, CA.

TICKETS: Tickets are $32-50, with half-off tickets for Under 30, student, and group discounts; phone (510) 843-4822 or visit www.auroratheatre.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.

Performances with talks/groups:

Friday Forum: Friday, September 14, 2012 – Political Correctness for Life

Script Club: Monday,September 24, 2012 7:30pm – The Search for Signs of Intelligent Life in the Universe by Jane Wagner

Wicked Wisdom: Friday, September 28, 2012 – Seeing the Truth in the Ring

September 6, 2012 Posted by | Theatre | , , , , , , , , , , , , , | Leave a comment

In David Mamet’s captivating Broadway hit “Race,” a court case involving race and sex causes three lawyers to get real about their own beliefs, at A.C.T. through November 13, 2011

In David Mamet’s “Race,” which has its West Coast premiere at San Francisco’s A.C.T., law firm partners Jack Lawson (A.C.T. core acting company member Anthony Fusco, left) and Henry Brown (Chris Butler) discuss whether they should take on a controversial case involving a white man raping a young black woman. Photo by Kevin Berne.

What do you get when you mix three attorneys with a white man accused of raping a black woman?  It all depends.   David Mamet’s  dramedy “Race,” which has its West Coast premiere at San Francisco’s A.C.T.(American Conservatory Theatre), uses a not-so-straightforward scenario of rape to explore the complex world of sexual and racial politics and our discomfort at talking about our deeply held beliefs.  When Jack Lawson (Anthony Fusco), Henry Brown (Chris Butler) and Susan (Susan Heyward) are roped into defending Charles Strickland (Kevin O’Rourke) a wealthy white man who appears to have raped a young black woman in a hotel room, we quickly see how this law firm operates.  Their mandate is to get their client off the hook by whatever legal means available, despite the truth.  Newly-hired associate Susan is most challenged.  As a young black woman, she empathizes with the victim and grows increasingly uncomfortable as a zany defense strategy involving a red sequined dress unfolds, but being new and lowest on the totem pole, she has little power to stand-up directly to her two senior partners.  While the two men spar directly each other about their respective assumptions about racial relations and sex and power dynamics and what may have really unfolded in the case, Susan finds non-verbal ways to assert herself, proving she is not as naïve as she presents.  White versus black; male versus female; privilege versus underprivileged–each character at first seems to conform to certain perceptions but then doesn’t.  Personal convictions and prejudices are road-tested all around by Mamet who also explores the predatory nature of the news media.  

Law firm associate Susan (Susan Heyward) quietly pays close attention to the racially charged case. As the play develops, she proves to be not as naïve as she is presumed to be. Photo by Kevin Berne.

Given Mamet’s track-record for presenting first-rate controversy, “Race” has no real shock impact─it has been upstaged by some of the racially-repugnant language currently on television but it is an entertaining puzzler hat offers a wide platform for exploration of our own deep prejudices.   The 2009 play also has an uncanny applicability to the issues in the highly-publicized case against former International Monetary Fund Director Dominique Strauss-Kahn for allegedly sexually assaulting a New York hotel maid in May of this year.  The shift in that case came when the Manhattan County District Attorney’s office disclosed in a letter to the defense team that the accuser admitted to lying on her 2004 asylum application and subsequent lies were then revealed.  Separating out and isolating issues relevant to the case at hand became part of a legal and media extravaganza and personal biases and projections were intentionally whipped up.  In rape cases, it seemed that one needed to be the near perfect victim, whereas, the friends, family, and supporters of the accused, a man of great wealth and power, argued that he was a certainly seducer but not a rapist.  Justice was a game that was to be played out and the truth was something else.  

Law firm associate Susan (Susan Heyward) and law firm partners Jack Lawson (Anthony Fusco, left) and Henry Brown (Chris Butler, second from right) prep their wealthy client Charles Strickland (Kevin O’Rourke) for questioning at A.C.T. through November 13, 2011. Photo by Kevin Berne.

At the end of the first act of “Race,” lawyers Lawson and Susan are debating the Strickland case when Susan tells Lawson, “This isn’t about sex. It’s about race.”

“What’s the difference,” Lawson asks. “It’s a complicated world, full of misunderstandings. That’s why we have lawyers.”  “Race” explores what’s at the heart of our biases and the world of sin that attorney-client privilege can hide.  At 90 minutes, without intermission, with a four member cast, and all set in a law firm’s conference room, it is one the best productions in A.C.T.’s recent history.  Alert: intentionally coarse language.  

Cast: Anthony Fusco as partner Jack Lawson; Chris Butler as partner Henry Brown; Susan Heyward as associate Susan; Kevin O’Rourke as wealthy client

Directed by Irene Lewis; scenery by Chris Barreca; costumes by Candice Donnelly; Lighting by Rui Rita; Sound design by Cliff Caruthers

“Experts Talks Back” special post-show discussions:  Delve deeply into the issues raised by “Race” with legal and cultural specialists leading discussions about many of the provocative topics that percolate throughout the production:

Friday, October 28, 2011, following the 8 p.m. performance:  Regina Arnold, a former rock critic who teaches at Stanford University, leads a discussion about race and ethnicity in today’s popular culture, moderated by Edward Budworth, A.C.T.’s groupsales and student matinee representative.

• Thursday, November 3, 2011, following the 8 p.m. performance:  Mary McNamara, a white collar criminal defense lawyer who was named one of the top 50 women lawyers in Northern California, leads a discussion moderated by Patrick S. Thompson, a partner at Goodwin Procter and a member of A.C.T.’s Board of Trustees.

• Thursday, November 10, 2011, following the 8 p.m. performance:  Wilda L. White, executive director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, and Jennifer Madden, deputy district attorney in Alameda County, lead a discussion moderated by Patrick S. Thompson, a partner at Goodwin Procter and a member of A.C.T.’s Board of Trustees. 

Admission to all Experts Talk Back events is free with a ticket to Race; the discussions will take place in Fred’s Columbia Room on the lower level of the American Conservatory Theater (415 Geary Street, San Francisco).

Details:  The West Coast premiere of “Race” runs through November 13, 2011; 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.

October 28, 2011 Posted by | Theatre | , , , , , , , , , , , , , , | Leave a comment

In Zayd Dohrn’s “Reborning” at SF Playhouse, an artist creates life-like infant dolls that serve as a form of therapy for her select clients, May 9- June 11, 2011

Lorri Holt, Baby Eva & Lauren English in Zay Dohrn's "Reborning" which has its world premiere at SF Playhouse. Photo: Jessica Palopoli

Cleaning up the unfinished business of the emotional past  is the theme of Zayd Dohrn’s engrossing play Reborning which had its world premiere Saturday at SF Playhouse.   This brilliantly acted drama takes an unsettling look at wounding from childhood and mothering experiences that can linger and enmesh adults in sadness, anxiety, obsession, and addiction.  Reborning also exposes the audience to a very unconventional healing path.   Continuing on a season that has offered one  provocative performance after another, Susi Damilano and Bill English, who run SF Playhouse, have found an exceptional talent in Zayd Dohrn.  Dohrn, the son of former Weather Underground leaders Bill Ayers and Bernardine Dohrn, has won the respect of audiences and critics all over for his plays, several of which  harken back to issues in childhood.

Reborning is the story of Kelly (Lauren English), a twenty something artist whose “Little Angels Nursery” fabricates custom made infant dolls for clients who have lost a child or have a need for a replica of a child and of Emily, her client who commissions a custom doll.  The play unfolds on multiple levels as it explores the fascinating and obscure real-world reborning phenomenon which most of us probably have no idea even exists. Grossly simplified, reborning is an attempt to recreate and relive the past.  Artists fabricate unbelievably lifelike human infant dolls that fill certain psychological needs for them and for the clients who buy them.  Clients commission custom-made dolls or “adopt” already created baby dolls.  They then live with and care for them as they would real infants.

In Zayd Dohrn's "reborning" which has its worldpremiere at SF Playhouse, Lauren English plays Kelly, an artist who creates reborning dolls. Photo: Jessica Palopoli

In Reborning, Kelly’s special artistic talent for satisfying her clients’ exacting demands by replicating dolls solely from photographs is what she stakes her reputation on.  The play opens with a highly unsettling image—Kelly is crouched over a worktable, surgically implanting individual eyelashes into her baby’s eyelids with sharp puncturing tools, finishing flourishes on her latest artwork.  Her process is cleverly made available to the audience through a camera set-up that magnifies everything in gargantuan detail for her on a large screen.  And the details are astonishing—a life size latex baby replete with wrinkles, folds, drools, and hair whirls is painstakingly painted with layers and layers of paint right down to its flaking skin and unique retinal patterning. 

The play focuses on her relationship with her client Emily played masterfully by Lorri Holt–who appeared last year at SF Playhouse in Rajiv Joseph’s Animals Out of Paper.  Emily is a brusk 50-something career woman who lost her infant daughter Eva some 25 years ago, and has commissioned Kelly to create a replica.  When Emily expresses some reservations about the quality of Kelly’s work, a whole range of emotions are triggered that send Kelly spiraling back into her own tragic childhood abandonment—she was stabbed and left for dead in a dumpster.   As Kelly begins to suspect that Emily is her birthmother, and that she has actually been commissioned to replicate her own infant self, she turns to familiar coping mechanisms—drugs and alcohol.  There is something in Emily that we can all relate to–she was thrown in a dumpster at birth but we’ve all been dumped at some point in our lives by people we should have been able to count on.  The sting of that can really mess with the mind and resurface in subsequent relationships.      

In "Reborning" Kelly (Lauren English) and Daizy (Alexander Alioto) find their sex drives out of sync when Kelly starts to process her childhood wounding. Photo: Jessica Palopoli

In "Reborning" Kelly (Lauren English) and Daizy (Alexander Alioto) find their sex drives out of sync when Kelly starts to process her childhood wounding. Photo: Jessica Palopoli

The play is loaded with poignancy and layers of symbolism.   If you’ve ever done therapy around childhood trauma, you may be familiar with any number of therapeutic processes that encourage revisiting the past and nurturing your inner child as a form of self-healing.  On one level, merely watching Reborning fast-tracks the cathartic aspect of this process.  Kelly’s and Emily’s visceral interaction with baby Eva, who symbolizes different aspects of the wounded self, and with each other is painfully real.  Dohrn’s ability to write these utterly complex female roles so believably, as if he’s right up inside their heads and defenses, is uncanny.  

Kelly’s partner, Daizy, (Alexander Alioto), is also meticulously crafted as a loving and devoted, but basically helpless, witness to her meltdown.  Daizy, who has neither experienced Kelly’s painful trauma around abandonment nor Emily’s maternal loss, is the vehicle through which the young couple’s issues around intimacy and childbearing are brought out.  He wants to talk; she wants to escape.  His humor provides relief from the paralyzing  pain playing out on stage and his courage to support his woman through validating her process is a message all partners need to heed. 

Directed by Josh Costello. Set Nina Ball; lighting, Michael Palumbo; sound design, Cliff Caruthers; video, Kristin Miltner; costumes, Miyuki Bierlein, props, Jacqueline Scott; doll designers, Cher Simnitt, Stef Baldwin, and Illusions of Life.

Details: Reborning runs 85 minutes without intermission. The SF Playhouse is located at 533 Sutter Street (one block off Union Square, between Powell & Mason Streets).  Performances: Tuesday and Wednesday at 7 p.m.; Thursday through Saturday at 8 p.m., plus Saturdays at 3 p.m.  Tickets: ($30-$50) SF Playhouse box office (415) 677-9596, or  www.sfplayhouse.org

May 9, 2011 Posted by | Theatre | , , , , , , , , , , , , , , , , , , , , | Leave a comment