ARThound

Geneva Anderson digs into art

Set in two different centuries, Tom’s Stoppard’s “Arcadia” is a smart romantic play that uses garden design as metaphor for progress, at A.C.T. through June 9, 2013

Rebekah Brockman is brainy Thomasina Coverly and Jack Cutmore-Scott is her ambitious tutor, Septimus Hodge, in A.C.T.’s production of Tom Stoppard’s “Arcadia,” directed by Carey Perloff, through June 9, 2013.  Photo by Kevin Berne.

Rebekah Brockman is brainy Thomasina Coverly and Jack Cutmore-Scott is her ambitious tutor, Septimus Hodge. Their smart repartee is divine and their on stage chemistry is magic in A.C.T.’s production of Tom Stoppard’s “Arcadia,” directed by Carey Perloff, through June 9, 2013. Photo by Kevin Berne.

I saw Tom Stoppard’s Arcadia for the first time, when it opened last Wednesday at A.C.T. (American Conservatory Theatre) and, already, I’m already planning to go again. It’s gardening season and time is precious but I was seduced by this dazzling production whose action that moves between the 19th century and the present and its riveting exploration of how big ideas take root, blossom, and then, become compost. The repartee and on-stage chemistry of the fine actors, the gorgeous set design and overall flow of the performance added up to an unforgettable evening. I was hooked once I discovered that, at its core, Arcadia uses tensions in garden design as a metaphor for progress. Frequently, when I describe plays to friends who live up in the wine country, no matter how good the production is, they bemoan the drive in to San Francisco, especially during gardening season.  Well, here it is!—a play brimming with ideas that will have you cutting your precious antique roses with renewed zeal because you’re on fire with ideas and how gardens through time embody them.  Whether you’re an orderly classicist who believes in preserving the structure of things or you’re more of a romantic who views structure as a straightjacket, and are constantly tossing out the old rules in favor of the new, there’s something intoxicating in Stoppard’s romantic story that will leave you exquisitely satisfied and slightly perplexed that you haven’t quite caught it all.

Set in Sidley Park, an English stately home, in two different centuries, the play opens in Edwardian 1809, much in the fashion of an Oscar Wilde drawing-room farce. The first thing you notice is Douglas W. Schmidt’s expansive drawing room set, appointed with picturesque trees that wind elegantly around the room. Septimus Hodge (played by Jack Cutmore-Scott), a young science graduate, is resident tutor to Thomasina Coverley (played by Rebekah Brockman), the precocious 13-year old daughter of the owners of Sidley Park. The two are cozied up at a wooden table. Reading through her Latin homework, she asks him, quite innocently, to explain what “carnal embrace” means. When he tells her, she is appalled. “Now whenever I do it, I shall think of you!” she gasps. “Is it like love?” He replies: “Oh no my lady, it is much nicer than that.” 

(from L-R): Rebekah Brockman (Thomasina Coverly), Jack Cutmore-Scott (Septimus Hodge), Adam O’Byrne (Valentine Coverly), and Gretchen Egolf (Hannah Jarvis) in A.C.T.’s production of Tom Stoppard’s Arcadia, directed by Carey Perloff. Photo by Kevin Berne

(from L-R): Rebekah Brockman (Thomasina Coverly), Jack Cutmore-Scott (Septimus Hodge), Adam O’Byrne (Valentine Coverly), and Gretchen Egolf (Hannah Jarvis) in A.C.T.’s production of Tom Stoppard’s Arcadia, directed by Carey Perloff. Photo by Kevin Berne

Turns out that Septimus has been practicing that on which he expounds—he was seen having a “perpendicular poke” in the gazebo with Mrs. Chater, the wife of a visiting poet. Their tutoring session is interrupted by a note from Mr. Chater, demanding he receive “satisfaction” for his wounded honor in the form of a duel. Septimus moans: “Mrs. Chater demanded satisfaction and now you demand satisfaction. I cannot spend my day and night satisfying the demands of the Chater family.” When Mr Chater arrives in a fury, Septimus asserts that he won’t engage in a pistol-fight to defend the honor of “a woman whose reputation could not be adequately defended with a platoon of musketry deployed by rota.” Septimus is also pursuing Lady Croom, Thomasina’s pert mother, but she has her eyes fixed on nabbing Lord Byron, Septimus’ college pal.

The play then shifts abruptly to the 1990s, and a more realist style. In the same house, and using the same set, a historian, Hannah Jarvis, is delving into Sidley Park’s history, with the permission of the Croom family. She is immersed in her research and in piecing together stories from the past.

She is interrupted by her rival, a patronizing old English fart, Bernard Nightingale, who has discovered a note that Chater wrote to Septimus in an old book.  He is convinced that the note was written by Lord Byron, the great Romantic poet, who happened to be visiting Sidley Park that weekend— and that he fought in the duel and killed Chater. He posits that this would explain why Byron fled to France in 1810 and asserts that he is hot on the trail of “the literary discovery of the century” which will make him a media sensation.

Rebekah Brockman (Thomasina Coverly) and Jack Cutmore-Scott (Septimus Hodge) in A.C.T.’s production of Tom Stoppard’s Arcadia, directed by Carey Perloff. Photo by Kevin Berne

Rebekah Brockman (Thomasina Coverly) and Jack Cutmore-Scott (Septimus Hodge) in A.C.T.’s production of Tom Stoppard’s Arcadia, directed by Carey Perloff. Photo by Kevin Berne

Those are the bare bones. The action unfolds from 1809 to 1812, while the characters in the late 20th century attempt to untangle what happened by reviewing what they know about their lives. The stories alternate until, in the final scene, all the characters appear on stage together, waltzing past each other, unseen.

Rebekah Brockman delivers an astounding and entirely believable performance as Thomasina, the innocent girl genius, the heart and soul of the play.  Her natural chemistry with her tutor, Septimus, Jack Cutmore-Scott, is a delight.  As he educates her in the basics of Newton’s laws of physics, she quickly demonstrates that her grasp of the implications of these principles far exceeds that of her adult peers.  She’s able to cut to chase using very familiar examples, making astounding connections between seemingly unrelated things—“When you stir your rice pudding, Septimus, the spoonful of jam spreads itself round making red trails like the picture of a meteor in my astronomical atlas. But if you stir backward, the jam will not come together again. Indeed, the pudding does not notice and continues to turn pink just as before. (1.1).”  Later, she makes observations about what happens with free will in a world where we are all merely atoms following the laws of motion in Newton’s universe.  It is she who leads Septimus to see the flaws in Newton, and he, in turn, who falls for her.

The present day couple—Hannah and Bernard, played by Gretchen Egolf and Andy Murray—due to their lack of on stage chemistry, is less dynamic, though they both, as feuding scholars, represent interesting ideas.  She is a model of classical reserve while he, boisterous and passionate, follows his gut instincts and prefers to reject the hard evidence that leads to the conclusion that Byron was not the killer he initially thought him to be.       

And the garden?  The garden at Sidley Park is never actually seen but its symbolic presence is felt throughout the play, as styles (Romanticism and Classicism) and their attenuate ideas butt up against each other.

Says Perloff: “To me Arcadia is the perfect play: sexy, subtle, romantic, bracing, hilarious, and complex, rewarding multiple viewings and multiple explorations. When I directed the show at A.C.T. in 1995, the Geary Theater was still undergoing repairs from the devastating Loma Prieta earthquake, so we have never done it on The Geary stage. Now we’ve gathered an incredible company and it is truly a fulfillment of a dream for me to bring Arcadia back to A.C.T.”

More on the origin of “Arcadia”— Arcadia is part of the Peloponnese peninsula and in European Renaissance arts was celebrated as an unspoiled, harmonious wilderness, even an imaginary idyllic paradise, immortalized by Virgil’s Eclogues, and later by Jacopo Sannazaro in his pastoral masterpiece, Arcadia (1504). The Latin phrase “Et in Arcadia ego,” which is usually
interpreted to mean “Even in Arcadia there am I” (“I” meaning Death), is a memento mori, a cautionary reminder of the transitory nature of life and the inevitability of death. The phrase is most often associated with a 1647 painting by Nicolas Poussin, also known as “The
Arcadian Shepherds.”  In the painting, the phrase appears as an inscription on a tomb discovered by youthful figures in classical garb.

Best Garden Quote:  “English landscape was invented by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the grand tour. Here, look – Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. It’s the Gothic novel expressed in landscape. Everything but vampires.”  (Hannah 1.2)

Run time:   2 hours and 35 minutes with a 15 minute intermission

CAST:  Rebekah Brockman is Thomasina Coverly; Jack Cutmore-Scott is Septimus Hodge; Julia Coffey is Lady Croom; Allegra Rose Edwards is Chloë Coverly; Gretchen Egolf is Hannah Jarvis; Anthony Fusco is Richard Noakes; Nick Gabriel is Captain Brice; Andy Murray is Bernard Nightingale; Adam O’Byrne is Valentine Coverly); Nicholas Pelczar is Ezra Chater; Ken Ruta is Jellaby.

CREATIVE TEAM:  by Tom Stoppard;  Directed by Carey Perloff.   Douglas W. Schmidt (scenic designer), Alex Jaeger (costume designer), Alexander V. Nichols (lighting designer), Jake Rodriguez (sound designer).

InterACT Programming for Arcadia— 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. Visit act-­‐sf.org/interact to learn more about subscribing to these events throughout the season:

Audience  Exchanges: Tuesday, May 28, at 7 p.m. | Sun., June 2, at 2 p.m. | Wed., June 5, at 2 p.m.  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.

OUT with A.C.T.:  Wednesday, May 29, following the 8 p.m. performanceThe best LGBT night in town! Mingle with the cast and enjoy free drinks and treats at this popular afterparty.

Wine Series: Tuesday, June 4, at 7 p.m.  Before the show, raise a glass at this wine tasting event featuring leading sommeliers from the Bay Area’s hottest local wineries.

PlayTime: Saturday, June 8, at 2 p.m.  Before this matinee performance, get hands-­‐on with theater with the artists who make it happen at this interactive workshop.

Bike to the Theater Nights: Thursday, May 23.   Providing a greener alternative to theater transportation, A.C.T. and the San Francisco Bicycle Coalition offer free valet bike parking, as well as a special discount on tickets, for these select performances.

Details: Arcadia runs through June 9, 2013 at American Conservatory Theater, 405 Geary Street, San Francisco.  Performances are 8 p.m. most Tuesdays-Fridays; 2 and 8 p.m. most Wednesdays and Saturdays; and 2 p.m. most Sundays. Tickets: $20 to $95, phone 415.749.2228, or visit www.act-sf.org .

A.C.T.’s 2013–14 season:  Seven incredible productions await A.C.T. patrons in 2013-14, including the West Coast premiere of Tony Award–winning director Frank Galati’s acclaimed new staging of 1776; the Northern California premiere of David Ives’s captivating cat-­‐and-­‐mouse drama, Venus in Fur; James Fenton’s beautiful reinvention of The Orphan of Zhao, starring the inimitable stage and film star BD Wong; and a sumptuous production of George Bernard Shaw’s political comedy Major Barbara. The remaining three shows will be announced at a later date. In addition to the seven-­‐play subscription season, A.C.T. is happy to welcome back the Bay Area’s favorite holiday tradition, the Charles Dickens classic A Christmas Carol, after its record-­‐breaking run last season.  To subscribe or for more information, please click here, or call 415.749.2250.

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May 28, 2013 Posted by | Theatre | , , , , , , , , , , , , , , , , , , , | 1 Comment

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.

May 22, 2012 Posted by | Theatre | , , , , , , , , , , , , , , , , , , , , , | Leave a comment