ALL PHOTOS BY JOHN CASTRO
Photo M (L-R): Rachel Tiemann (Grusha), Matthew Kinney (Shauva) and Ayanna Siverls (Natella)
...................................................................
Parables are often regarded as moral or religious lessons in a nutshell, teachings on life that are summarized in concise stories and usually confined to one religious or philosophical tradition. Always overachieving and ambitious, Bertolt Brecht's version of a parable in The Caucasian Chalk Circle spans an entire play and borrows from four texts to tell his story: the Bible, Buddhism, Islam, and most importantly, Li Xingdao's 14th century play, Hui Lan Ji. Hipgnosis Theatre Company stretches this epic theatre drama to its anti-realist limits, bringing clarity to the "play within a play" device. But even with all of the cast's hard work and efforts, it's the strong technical direction by Sarah Ford and the choreography by Kimberly Braton that keep everyone focused, actors and audience members alike.
Ford and Braton's influences are felt as soon as the play opens. The actors scatter onstage, wearing appropriately drab beige and white costumes by Krista Thomas-Scott, but come together with calculated moves and purpose to propel the story forward. Demetrios Bonaros' introductory song note as the Singer Arkadi, both startling and commanding in one breath, familiarizes us with the "frame" of the play. It is soon after World War II, when the Nazis have retreated from Russia, and have left a village abandoned. In a communist move, the villagers get together to decide who should have the land. Everyone, including the previous landowners, agree that it should go to the people who have the wisest and most productive use for it. Once ownership is decided, the owners put together a story to illustrate and celebrate the agreement. Arkadi tells the story of two mothers battling over a royal baby.
Michael, the child in question, is represented by an ornate cloth that is folded and carried in such a way that implies his infancy. The cast is ever careful to transfer the "baby" from actor to actor, and this is but one of the many wonderful ways in which they conceive of props, persons and things that are not physically present. The child is the son of Governor Georgi Abashvili and his wife Natella (an impressive Ayanna Siverls), a haughty and greedy woman. The Fat Prince (John Castro) organizes a coup and overthrows the government. After Georgi is beheaded and the city of Nukha is set on fire, Natella inadvertently leaves her son behind as her servants rush her to safety. Her servant Grusha (Rachel Tiemann) saves Michael from certain doom and flees into the mountains with him. A series of mishaps and adventures ensue including run-ins with soldiers, a love interest, attempts at finding Michael a new home, a false marriage, sickness, and finally, the chalk circle to prove her maternity.
Photo L (L-R): Pharah Jean-Philippe (The Elder Lady) and Elizabeth Mirarchi (The Younger Lady)
Spread over two acts and 2.5 hours, The Caucasian Chalk Circle runs very long for its subject matter, but the cast does its best to make sure that it remains engaging and doesn't drag. Unfortunately, sometimes their concern for the audience's enjoyment gets too personal. During the intermission, the cast interacts with the audience and breaks down the barrier between performers and patrons. Although a friendly gesture and an interpretation of Hipgnosis' desire to share their experience with the audience, this throws a wrench in their professionalism. Also, there were a few symptoms of the lack of preparation. The performance that I attended was late by half an hour, and during intermission, there were noticeable discussions between the cast and crew about lighting design. The audience shouldn't have to see the making of the product during the performance of the product.
Luckily, the performances don't follow suit. Although there are no weak links, several actors deserve special mention for their contributions. Tiemann is a fierce and compelling mother figure, doing justice and more to the judgment of Solomon (1 Kings 3:16-28) parable from the Bible. Grusha's love interest, Simon Chachava, is played with verve and charm by Douglas Scott Streater. Richard Ugino's Corporal is as bombastic and entertaining as they come, working the audience and tickling his own castmate's funny bones. And finally, John Kevin Jones plays Azdak, the hero to Grusha's heroine that is the driving force behind Act Two. Although Act Two as Brecht has written it is mostly discordant from the premise established in Act One, Jones is not only a master of mischief, but instrumental in forging ties between the beginning and the end.
Photo N (L-R): Matthew Kinney (Shauva)
This revival of The Caucasian Chalk Circle may not be glamorous, but it's full of passion and energy. The absence of elaborate props and costumes works for this production because it enables the audience to focus on the performance, thereby putting increased pressure on the cast and directors to be effective. Fortunately, they don't succumb to the demands. They rise to the occasion and make Brecht's play accessible, light-hearted, and fun. For a theatre company whose mission is to emphasize the fellowship between actor and audience, that combination is a great thing indeed.
......................................................................
Through May 11th. Tickets: $19. Ticket Information: Telecharge: 1-800-432-7250 or 212-239-6200, http://www.telecharge.com/. Theatres at 45 Bleecker Street45 Bleecker St.New York, NY 10012
0 comments:
Post a Comment