Caucasian Chalk Circle

Hipgnosis Theatre Company's production of Brecht's The Caucasian Chalk Circle is a "bare-bones" effort, using very few props and much imagination to tell this complex and comprehensive tale. Long running time and structural problems aside, the production succeeds for the most part with strong direction and good acting.

ALL PHOTOS BY JOHN CASTRO

Photo M (L-R): Rachel Tiemann (Grusha), Matthew Kinney (Shauva) and Ayanna Siverls (Natella)
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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.

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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

Pirates, Patriots, Patricides is off to a great start....

Today was the first official day of rehearsals for "Dunmore Bad and Good." Everything went very well, particularly for the first run-through. I'm expecting an amazing performance from Canara, Cheryl and Weez. Within the first hour, they were up on their feet and were going through lines. Lanie did a great job with the preliminary blocking. I can't wait for Saturday when we run through it again. This play has started a dialogue between us that I am very pleased with. I even sent an email to Lani Guinier herself, asking her to come to the performance. And, I hope I got the right David Axelrod, but if I didn't, another guy who has nothing to do with Barack Obama's campaign is going to get an earful about this short play. I did a search on Google for him, and found his practice in Chicago. It was easy enough to leave a voicemail. I don't know if either person will show up or not, but I'm glad that I had the gumption to actually contact them. I feel strongly about this piece, but then again, isn't that what one always says when a production is in progress? Lol. Anyway, we have a couple of weeks until the opening, and I'm on my way to finding wigs and costumes for my actresses. The 6th episode of HBO's "John Adams" pointed me in the right direction to the costume for Kelsey, and Lani and Michelle are covered, thanks to some very classy women with very stylish wardrobes. Can't have these two powerful women looking "tore up." I'm so glad to have found a cast that's so committed to my play. It's one thing to be happy with your art, but when others stand behind it, the bliss is on a whole other level. Stay tuned for the next installment of "Pirates, Patriots, Patricides."

Spring 2008 Eatest: Series B

Emerging Artists Theatre returns with another installment of 10 one-act plays that are "character driven....with unusual subjects and settings with a twist" for their annual Spring Eatfest. However, not all of the pieces fall within that parameter in Series B, a round-up of shorts that include inflatable rafts, sadomasochism, impotence, and onions.

Photos by Erica Parise

Scott Klavan and Elizabeth A. Bell in Islands of Repair

The performance begins with Leslie Bramm's Islands of Repair, an Open Water-type drama without the impression of doom. An unhappily married couple find themselves stranded in an inflatable raft encircled by sharks when a hurricane sinks their chartered boat. Simply referred to as Man (Scott Klavan) and Woman (Elizabeth A. Bell), the couple's constant trivial arguments that sometimes meander off the course of the premise kills any chance for the audience to believe that they're in real danger, despite a valiant effort from the actors to veer their bodies to and fro and good lighting and sound effects. Although some of the dialogue is witty, the actors barrel through it without giving their predicament a nod. Occasionally, they also barrel through plot development. One minute, they're beating back sharks, the next minute, they're attracting a seafood dinner with bait without any progression in between. Don't sharks take bait, too? Despite some funny moments such as the Woman paying the phone bill while adrift, the play goes on too long and doesn't maintain interest. And although the couple come to an understanding by "seeing" each other during their last moments, what the audience sees isn't believable. They can cup air out of the raft all they want, but their impending death doesn't resonate. Islands of Repair may have an unusual setting, but it's overly ambitious. The script and the production elements need a second look before we can get on board.

Ashley Green, Irene Longshore and Ron Bopst in Love, Me (Margaret)

Mousy and depressed Margaret (Irene Longshore) seeks love through asphyxiation in Jennie Contuzzi's Love, Me (Margaret). Her co-worker Louis (Ashley Green) is trying to give it to her the serene way, but she prefers her former teacher and current prayer partner Harry's (Ron Bopst) brand. While Harry is serving time for strangling his wife, Margaret visits to pray and pry about the particulars of his crime, falling in love with the idea of killing for love. After many relationships that resulted in her abandonment, Margaret wants the ultimate sign of devotion: tight hands around her neck. And she won't truly believe that Louis cares for her until he's willing to keep squeezing. Although Contuzzi's finds a compelling way to talk about masochism and hint at its roots, the dialogue is often stilted and rambling. The scene changes are fluid, with actors coming in to set up while others depart, but sometimes it's hard to discern where a scene ends and another begins. Love, Me (Margaret) is a twisted, slightly creepy story of a girl with an impoverished spirit, but the progression from heartbroken to dysfunctional makes sense. It may be a scary road, but Contuzzi does a good job of leading Margaret and the audience down the path.

The Letter's Marc Castle, Shaun Bennett Wilson and Cash Tilton

Series B lightens up in content and mood with Chuck Rose's The Letter, a comedy about a powerful executive's loneliness and inept social skills. When Arnold (Cash Tilton) is too awkward to ask Rebecca Foyt (Shaun Bennett Wilson) out to dinner, his presumptuous and feisty assistant Martin (Marc Castle) dishes out advice and strategies. Martin talks Arnold into writing Rebecca an email about his intentions. Unfortunately, Martin's proofreading skills are not up to snuff, and he winds up making a mildly funny, but important mistake that allows the two executives to be candid with each other. Although Castle's performance is slightly over the top, he is the one to watch in this performance. He's saucy and sassy, and embraces the role of the meddling assistant well. The fluffy script has its humorous moments, but unfortunately, also has flat and predictable ones. Of all the plays, it's the least successful in fulfilling the mission of Eatfest, but it's a welcome change in the aura of the production.

Ron Bopst and Vivian Meisner in Onions

Finally, the crowning achievement of Series B is FJ Hartland's Onions, the story of the fulfillment of a dying man's wish. When Aaron (Ron Bopst) learns that he only has a few days to live, the only thing he wants is to be held in his mother Dinah's (Vivian Meisner) arms, like she's done so many times before. But he has two problems: Hazel (Hershey Miller), the wise-cracking nurse that won't let him see her past visiting hours at the nursing home, and the advanced dementia that's taking over his mother. But where there's a will, there's a difficult way, and through persuasion and desperation, Aaron is able to bypass both. Despite the veneer of cheesiness, Onions is a touching spectacle of the need for a connection, even if it's brief. The whole cast is exceptional, but Bopst deserves a special mention for being completely unrecognizable from Love, Me (Margaret)'s Harry to Aaron here; he's a chameleon, indeed.

Series B is a good mix of varying material that may satisfy different tastes, but doesn't wholly meet the standards of Eatfest. Some are unusual, but don't have a twist. Some are character-driven, but aren't unusual. Though the work is not always successful, Emerging Artists Theatre consistently releases new voices into the off-off broadway market that will be heard. That alone is a wonderful contribution.

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Through May 4th. Tickets: $18. https://www.ovationtix.com/trs/cal/453 Roy Arias Theatre Center, 300 West 43rd Street, 5th floor, NY, NY 10036

Pirates, Patriots, Patricides

As promised, here is the information for the festival I'm participating in. My play "Dunmore Bad and Good" will be featured on April 30th and May 6th in conjunction with 2 other plays. To find out more about which shorts are featured on which nights, please click on the "Pirates, Patriots, Patricides" title above. The tickets for the 1-hour show are $12, and can be purchased here: http://www.smarttix.com/show.aspx?showcode=PIR. Come out and see what yours truly has on her warped mind.

Dirt

An illegal immigrant from Iraq paints an ugly portrait of himself with the brushes of American disdain and the bristles of alienation. This one-man show's greatest strength is Christopher Domig, the Austrian-American actor who brings an impressive range of emotion to the piece. Although there is much food for thought and a passionate plea for understanding, the self-hatred is heavy and dismal. It continues long past the effectiveness of sarcasm and pity; what's left is over-indulgent. Photos of Christopher Domig by Jordan Craven
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If the effects of reverse psychology were ever questionable, then all doubts have been put to rest with Robert Schneider's Dirt. Revived from its 2007 run in the NY International Fringe Festival, Dirt is a European one-man show that alternates between a portrait of self-loathing and puffed-up pride, but favors the former. The story centers on Sad (Christopher Domig), an illegal immigrant from Iraq that sells roses on the street to get by. He lives by humble means, has no friends, and is far away from his homeland. With no social life, no money, and nothing else to keep him occupied but his crappy job, Sad has all the time in the world to meditate on his current state. It's bleak, and America is mostly to blame.

Lit only by candles and the most basic lighting design, Sad is shrouded in dim light for the majority of the play, matching his low spirits and discouraging circumstances. He sits on an overturned crate, eating a raw onion like an apple; the repulsive smell wafts into the audience, repulsive because we're nowhere near a kitchen and it isn't chow time. His intentions, apart from enjoying a snack, are clear: Iraqis are repulsive to Americans. "I'm not a xenophobe" he says, before a rant about the current state of the U.S. begins. Before we accept his argument, he calls himself a "dirty, lying foreigner", and takes us back to where we started.

Dirt is a roller coaster of emotions that elicits the same feelings from the audience that it commands in its performance. It is a powerful account of a broken psyche, ravaged by the effects of war and politics. By the time Sad reveals that his real name is Saddam, we already feel like both pawns in a twisted game and witnesses to a gruesome execution. For Sad may not be killing himself literally, but the massacre to his sense of self-worth is real enough. When enraged, his arguments about other immigrants receiving special treatment by the government are biting, but sound. When he talks about his admiration for the English language, his tone is soft; he's charming with the innocence of Edward Norton's character Aaron in Primal Fear and the look of him, too. But like Aaron, Sad's tranquility doesn't last long.

What makes Dirt so compelling is its ability to put a mirror in front of our own attitudes about foreigners and the roles that they play in America. With our international policies currently being reviewed, and our large population of immigrants from many different countries, it was apparent that similar sentiments could be shared across the nation. This translation by Paul Dvorak raises a lot of ultra-sensitive topics that are prickly, but necessary for enlightenment and growth; growth in character, and growth in sympathy. David Robinson's direction of Christopher Domig is like a violinist playing his instrument, evoking pain, passion, anger, sarcasm, humor, and calm out of this gifted actor. The reverse psychology works, making us consider Sad in the opposite manner that he presents himself, but we also know that he owns the feelings and thoughts that he communicates. Sometimes. Although the self-battering goes on too long, it succeeds in riling up the discomfort that is at the core of this piece. The saddest part of the show is that Sad sees no solution to the misunderstandings between himself and Americans. He is divided about his country, divided about his identity, and divided about the Western world. And there's no reconciliation in sight. But perhaps starting a no-holds barred conversation about the problem is the first step towards change. Dirt is revolutionary, current, thought-provoking, and solid. Catch it now before it leaves for the 2008 Edinburgh Fringe.

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Through April 26th. Tickets: $20. Ticket Information: Smarttix: 212-868-4444; http://www.smarttix.com/. KGB - St. Mark's Theatre94 St. Mark's Pl.New York, NY 10009

Francis Ford Coppola's The Conversation

A surveillance expert becomes paranoid about his safety while holding tapes with dangerous content in his possession. Based on Francis Ford Coppola's 1974 movie of the same title, this new adaptation retains the same elements of the original premise, but this time there's no Watergate scandal to attach it to. There may not be a specific case now, but with wire-tapping currently in the news, it's still very timely. Filmmaker Michael Moore may be hitting up the invasion of privacy as a topic next. This production is beautifully staged, well-acted, and successful in recreating the film noir feel of the film as well as the era in which it was first conceived. It's a must-see for top quality entertainment. .........................................................................................................................

"I'm a good man." says Harry Caul (David Mogentale, excellent and sounding consistently like Kevin Costner) unconvincingly into the audience. And as The Conversation unfolds, it's easy to discern that the doubt stems not from any holes in Mogentale's acting, but from the mentally-torn character that he plays. For Harry loves his profession as a top-notch wire-tapper, but a recent job for a Director (James E. Smith) has him very worried. He's recorded conversations between a couple, Ann (Feldpausch) and Mark (Craig Butta) that he wishes he hadn't, and not even a fat paycheck for his services is enough to hand the tapes over to the Director's assistant, Matthew Harrison (Jack Dillon). What will happen to the couple? Is he an accomplice in their doom? Not only are there open-ended questions, but he has to deal with his Catholic guilt on top of them. But Harry's fears aren't unfounded; he's had dangerous recordings before.

Years ago, Harry worked a job that resulted in the death of three people. Although he insists to his peers and associates that he is not responsible for the actual content of the tapes or how his clients use them, he's still carrying the weight of his past. Emotionally, it is clear that Harry is unbalanced. He's reticent, secretive, and shies away from close relationships with friends and lovers. Two women in particular, Amy (Amber Gallery), the lover that's half his age and clueless about his life, and Meredith (Julianne Carpenter), the older temptress who's not so clueless, experience his aloofness firsthand. They know he's unattainable, but they're still captivated. But if Harry wasn't born this way, he was made this way by his job. The privacy he exploits becomes what he desperately tries to preserve in his own life. When he won't give up the tapes, he opens himself up for investigation and exploitation. The tracker becomes the tracked. Too bad Harry can't cope when the tables are turned.

Kate Harris' adaptation of the screenplay is smart, Hitchcockian, and respectful of the original thriller. Like the film, much of the play relies on great sound design; here, Tim Cramer not only inserts recordings at key moments, but also creates eerie sounds between scenes. Although The Conversation retains much of the content of the film such as Harry's wardrobe (Mogentale wears a plastic raincoat the same way that Gene Hackman did in the movie) and saxophone-playing, there are no mimes and no opportunity to compare Harry's scene in the bathroom to the hotel bathroom scene in Psycho; there is no bathroom scene.

The stark, platform stage by Mark Symczak, doubling as both a bed and park steps, is practical and creative, but it's the wire mesh booth behind it that's the real prize. This prop is a believable vantage point for observers, changing room, sound room, and Amy's apartment all in one. The recording equipment within Harry's office, placed downstage in his warehouse apartment, reminds the audience that Harry's job is the priority in his life, and sometimes to his own detriment. The lighting design by Douglas Cox is precise, separating scenes by illuminating only the most pertinent parts of the stage at the right times. Leo Farley's crisp direction brings clarity to the exterior and interior scenes, even when they are done simultaneously and there is much activity onstage. The ensemble is superb, executing the mystery and intrigue surrounding this play. The glitches and fading out of the voices on the tape are mimicked well by Feldpausch and Butta, even if their dialogue is not always in sync with the recordings.

The Conversation is a great production by the 29th Street Rep that kicks off their 20th anniversary season well, and makes their 2-year hiatus worth the wait. The film that the play is based on doesn't get as much attention as the Godfather films, so this production is a good way to remind us of this gem. There are no gratuitous scenes, from fellow surveillance expert William P. Moran's (Tim Corcoran) hilarious demonstration of a Home Shopping Network-type taping device to the house party initiated by Paul Meyers (Thomas Wehrle). Almost everything up to and including the surprise ending (for those who haven't seen the movie) works together to advance the story and maximize entertainment value. And in light of the scrutiny of our current government's pursuits and technology, the similarities between Harry's fears and today's U.S. citizens won't be lost. Thanks to a well-conceived production by everyone involved, the audience won't be lost, either; they'll be thrilled. Get it, thrilled.
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Through May 4th. Tickets: $20. http://www.smarttix.com/. 29th Street Rep, 212 West 29th Street, 2nd Floor, New York, NY 10001

Plugging my own play is the first order...

Okay, so I toiled a little bit about my first post for this blog. Thought about the content, the tone, and what exactly I could say to get you to keep coming back....then, I threw all of that out the window and decided to plug my own work instead. I have a short play production coming up at the end of the month. The play is entitled "Dunmore bad and good", and will be produced by Stolen Chair Productions (http://www.stolenchair.org/master.html?http://www.stolenchair.org/accidentalpatriot/. Now, the play is being produced in conjunction with a full-length play called the "Accidental Patriot." I have not seen this play, but I understand from the press materials that the premise encompasses pirates, patriots and the American Revolution. The theme for my performance nights (April 30th and May 6, currently) is the American Revolution. Come see all about how Barack Obama's platform is coming together in a play that includes Michelle Obama, Lani Guinier and a slave from the American Revolutionary War as characters...that's right, folks. It's a timely political piece or...is it? I just had my first rehearsal today with my cast, and I'm expecting great things from this amazing group of women. They are Canara Price (Michelle Obama), Weez Tomlinson (Lani Guinier) and Cheryl Davis (Kelsey, said slave from the Revolutionary War). Lanie Zipoy, Publicist extraordinaire with Avec Promotions, will be directing. Yes, I'm excited folks. There's nothing like putting on work when you spend most of your time waxing poetic about other people's work. Stay tuned for the details.........