A Phenomenal and Heartbreaking ‘Lela & Co.’ Extends at Steep

By Hallie Palladino

Steep Theatre has just extended its devastating and urgently important play, Lela & Co. I wanted to take a moment to recommend this production and encourage people to see it now that it has been extended through September 16th.

I feel so fortunate to have seen Cruz Gonzales-Cadel play Lela in this heartbreaking two-hander opposite Chris Chmelik. Gonzales-Cadel has phenomenal range. We immediately fall in love with Lela as she disarms us with her charm and draws us into her story.We start in Lela’s childhood home with a loving mother and a father who alternates between indulgent and abusive. The limited abilities of women to shield each other from harm is a theme established early. As the dangers around her multiply, we watch Lela transform from an innocent child into a determined and courageous woman. For his part, Chmelik plays a host of villains, each fully fleshed out, each differently evil. Written by the British playwright Cordelia Lynn when she was just twenty-six, Lela is original in every way. Lynn speaks the unspeakable and holds us all accountable.

I won’t describe or summarize the story because much of its dramatic value is in its surprises. We never know what’s about to happen and, like Lela, we feel powerless to stop the cascade of horrors that unfold as she recounts her story. I’ve never felt so much real fear, rage and despair in the theater. A big part of it was knowing, more than a play, what happens to Lela is happening to to girls and women around the world every day.

Lela examines the way women become casualties of war showing how their stories are coopted, their voices silenced and their abuse marginalized. The narrative style creates the experience of being inside the head of a women who has internalized the narrative of her abusers along side the truth of her lived experience. This gives the audience an opportunity to experience the cognitive dissonance that results from trauma. The tone of Robin Witt’s direction creates jarring juxtapositions between the events that happen to Lela and the way she describes them. Lela uses a range of coping techniques from detachment, to rationalization, to minimizing, to self-blame. All the time as her underlying grief, rage and pain are straining to be let out. By the time Lela hits its crescendo and the playwright allows her character to enact a desperately longed for moment of confrontation all the air goes out of the room.

The space has been transformed into an intimate café with limited cabaret style seating and the actors perform on raised platforms above our heads. The action happens around the audience so we’re immersed and therefore implicated in Lela’s predicament. All the design elements seamlessly support this atmosphere of fear and claustrophobia.

I must end with a really big trigger warning here. There is graphic sexual violence both portrayed and discussed. This play deals plainly with some of the darkest subject matter I’ve ever heard onstage. Lela explicates the economic and political circumstances of war and how they enable the exploitation of women. Lynn’s story also reveals the tragic irony of how third party “liberating” and “peacekeeping” forces in conflict zones participate in crimes against women. No, Cordelia Lynn’s play isn’t easy to watch, but it is essential.

BIAS ALERT: Cruz and I know each other from Something Marvelous and have bonded over having children around the same age. Likewise, I know Peter Moore, Steep’s Artistic Director, because our kids were in the same class and I’ve submitted my work to his literary department. All this just means I was already a fan of the theater and of Cruz before I went to see this play.

Extended through September 16th!

CAST:
Cruz Gonzalez-Cadel
Chris Chmelik

PRODUCTION TEAM:
Director – Robin Witt*
Stage Manager – Lauren Lassus**
Set Design – Joe Schermoly
Lighting Design – Brandon Wardell**
Sound Design – Thomas Dixon**
Costume Design  – Jessica Kuehnau Wardell
Prop Design – Maria DeFabo**
Fight Choreography – Christina Gorman
Dramaturg – Carina Abbaticchio
Assistant Directors – Michael Rogerson & Isabel Perry
Production Manager – Julia Siple*

*Denotes Steep Company Member
**Denotes Steep Artistic Associate

Song of I, Song of Us: Marcus Gardley’s black odyssey at California Shakespeare Theater

By Jerome Joseph Gentes

August 13, 2017
In my blood Lakota Sioux culture, we call chants of praise honor songs. This is an honor song for Marcus Gardley, and the CalShakes production of his new play black odyssey that opened last night. I want to state right out that I’m writing this on Sunday, August 13, the day after the murders and radical domestic terrorism in Charlottesville. I’m writing this under the cloud of the last few years of racial violence. I’m writing this under the shadow that the current Executive Branch of the Federal Government is casting over the land. I don’t want to pretend otherwise.

A soldier’s homecoming after war is never a simple story, never simply going from point A to B. Any traveler under any circumstance who gets lost and veers off course does not unravel a simple story. Combining those two tropes, and stirring in hefty doses of subplot by way of interference from gods, human nature, and nature itself, Homer (like others) added to a small but vital shelf of epic narratives for all times and all peoples. Small wonder that The Odyssey has inspired novels like James Joyce’s Ulysses and plays like Father Comes Home from the Wars (Parts 1, 2 & 3) by Suzan-Lori Parks. It has also inspired Oakland’s Marcus Gardley, and with black odyssey he has achieved something extraordinary: a personal and public take on Homer’s poem that not only stands alongside the original–it reflects and expands the epic and the other great works it has inspired.

Directed by Artistic Director Eric Ting, the exceptional cast of nine includes J. Alphonse Nicholson as the hero, Ulysses Lincoln, Omozé Idehenre as his faith-tested wife, Nella Jerome Pell, and Michael Curry as grown Malachai, the son born during his absence. I’m naming these characters and actors first because Gardley, Ting, and company have foregrounded the human story of a husband who has wed a woman, but hasn’t had the chance to perform his husbandly role and responsibilities. A man who has fathered a child but hasn’t had a chance to occupy and perform the role of parent. Likewise, Nella is Ulysses’s wife, but has had to live–and love–for 16 years without him, while Malachai has grown up like too many boys do–mothered, but unfathered. Gardley’s script plumbs the breadths and depths of this broken dynamic in ways that make it fresh and vital, and Ting wisely puts all three actors front and center. Nicholson actually spends much of his time at the very edge of the stage, making music on upturned five-gallon buckets as point and counterpoint to the action. Gardley preserves the Homeric framing device of deities at play with mortal lives in a chess match with dire consequences for humanity between Great Grand Daddy Deus, played by the orotund Lamont Thompson and Great Grand Paw Sidin, the oracular Aldo Billingslea.

The rage and grief and despair that play out for Nella and Malachai alone are the height of drama. Fortunately for them, the play, and for the audience, the Athena character, Tina, who Gardley makes a distant great aunt, moves in to help Nella raise Malachai. As played by the wonderful Margo Hall, Tina transitions from Olympian divinity in her gorgeous Ashanti gown to house-bound helper in caftan and leopard leggings and back again.

A third family, the Sabines, plays a key part in Gardley’s (re-)imagining: Alsendra, Artez, and Benevolence Sabine, played respectively by Dawn L. Troupe, Michael Gene Sullivan, and Safiya Fredericks. Ulysses encounters them early on his attempted journey home, where they’re on a New Orleans rooftop to escape the rising tides. Tides of Hurricane Katrina, tides of racism, tides of history, and tides of memory. Benevolence joins Ulysses for much of his journey home, and the Odyssey episodes weave in and out of their own adventures as well as the hero’s storytelling. Two such episodes were particularly spectacular: the Sirens episode, which gives Thompson a chance to play a pimped-out Granddaddy Tiresias, Troupe to play Diana Ross, Hall to do Tina Turner, and Sullivan to tear up the trunktop of a gold Caddy convertible as James Brown. Even better (and “better” is a relative word amidst such strong ensemble performances) is Troupe’s performance as Calypso, who tempts Ulysses with a monologue about food that had the audience salivating as she caresses every sound and syllable.

Gardley’s script is as lyric as anything I’ve ever heard or read, and I have read and heard a lot of song and poetry. (I cannot wait to re-read it in print, so if you’re a publisher, hurry and snap up the rights–no, the privileges–to publish this play.) There’s rhyme and rhythm, music and musings, imagery and idea to spare that not only honor the original; they take the original and this, its variation, further into the realm of timelessness. And the production honors every word. The simple yet stunning set design by Michael Locher consists of a grid of white-gold square pillars of varying heights. Xavier Pierce’s illuminations, darknesses, and shadows and Carlis Roberts’s sounds and silences transform them from the realm of the gods to project hallways and from BART and police stations. And because Ulysses Lincoln mentions that he enlisted in the military post-9/11, I thought more than once of the ruins of the World Trade Center. At the climax of the play–a deeply moving encounter between Ulysses and one of his female ancestors that reminded me of a moment in the great Toni Morrison’s Beloved–one of the pillars pivots around to spectacular effect.

Gardley’s play sings a song of society and selfhood, but more importantly, it gathers up humanity, history, memory, and storytelling into one magnificent performance poem. I haven’t seen Parks’s version of the Homeric myth, so I can’t compare them, and I don’t think I’d have to. black odyssey is a collective and collected chorus that rings true and necessary for our moment, and for moments to come. We too have a long journey to make, a long homecoming path to trod to get to the America we seem to be on the verge of losing. black odyssey is an imaginative roadmap for the heroism we’ll need.

Directed by Eric Ting
Closes Sept. 3rd
Ticket and Program Information
Photo Credit: Kevin Berne

Black Lives Black Words Centers Black Women

Black Lives, Black Words is an artistic movement that began in Chicago but has since had events in two continents, three countries, and seven cities. Producer and playwright Reginald Edmund began this venture with Executive Producer Simeilia Hodge-Dallaway in 2015, prompting playwrights and spoken word artists to respond to the question “do black lives matter?”

The resounding response: not only do black lives matter but black art does too. As Edmund has said “There isn’t anything particularly revolutionary about what ‘Black Lives, Black Words’ is doing in and of itself, it’s the fact that we are doing what so many organizations and institutions that have scammed off of the diversity and inclusion discussion, and that have the resources should be doing or failing to do, which is what makes us a revolutionary theatrical endeavor. Giving artists of color actual control over their own narratives, and giving the community voice, access, and space to be heard, as well as bridging communities with a shared global dialogue.”

There are a few events to look out for if you’re trying to catch a BLBW event this August. Starting August 14th at 7:30pm they are partnering with Collaboraction to host the “Our America Party.” Part of a greater “Our America” series, this project asked local people of color, LGBTQ+ and female playwrights and directors to speak on the state American Dream. Artists featured include Arti Ishak, Rohina Malik (Yasmina’s Necklace can be seen at the Goodman later this year), Dana Lynn Formby, Tanuja Jagernauth, and many more.

On August 21st, Black Lives Black Words is hosting a TEDTalks inspired speaker series called THE ARTIST SPEAKS, where legends such as prominent director Ron OJ Parson, and Malik Gillani, Artistic Director of Silk Road Rising, will speak to the history and state of the arts in America, and what lies in the future.

These events culminate in the third Black Lives, Black Words Event, this year to be held at Victory Gardens Theater August 22nd at 7:30pm. What’s different about this year? Every piece is written, produced, and directed by black women and femmes. Playwrights include Loy Webb, Nambi Kelly, Adia Alli, and directors include Nicole Michelle Haskins and BLBW’s Executive Director, Simeilia Hodge-Dallaway.

See what participating artists have to say about Black Lives Black Words this year:

“BLBW is an innovative, hard-hitting, internationally scoped project that focuses on the truth telling of the Black narrative in this country and beyond. I am so thrilled to have been asked to contribute a piece on something I am very passionate about, and to be able to witness the talents of all the other artists involved. I am particularly thrilled that all of the pieces in this installment are directed and written by women. Reggie Edmund is certainly doing his part to be a game-changer in the field of producing. I am humbled and grateful to be a part.” – Nambi Kelley (Playwright, Actor)

“I had the pleasure of covering BLBW’s for Newcity when it first started. It was a rough and raw idea at that point, finally coming to fruition. Since then it has turned into a refined movement that is touching lives both in the states and abroad. Seeing this movements growth first hand, shows the impact that artist truly committed to the community can have and you don’t need huge institutions behind you to be a force. And now that the movement is branching out giving women a voice, and addressing our current political climate, just shows that this movement that Reggie and Sim have helmed, isn’t just talking about change like most folks do. They are creating it from the ground up. And I am sincerely grateful and honored to lend my artistry to further their cause.” – Loy Webb (Playwright, Critic)

Tickets are an accessible $10-13 for events, check out http://www.blacklivesblackwords.org for more information!

 

 

About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer

By Regina Victor

About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women.

The set (designed by Scott Penner) is papered with posters from iconic punk acts like Joan Jett, and the young people roam the space at the top of the show, cleverly setting our place and time. A couple of the ensemble members were talking to an audience member, and pretended to be mystified and confused by his cell phone flashlight, much to everyone’s amusement. Complete with twinkling bulb lights and alley seating, it’s hard not to feel like you’re at a real punk show when the actors break into their energetic opening dance highlighted by multicolored club lights (lighting by Kaili Story).

Danni (Kyla Norton) and their best friend Jamie (Sandy Nguyen) are old friends reunited after Danni lived in racist Tacoma for six years. As they try to find their place in the punk movement, Danni wonders why more of their favorite punk bands don’t look like them. Danni’s old crush Sam (a charismatic and stylish Ophelia Ashley Murillo) conveniently comes waltzing back into Danni’s life, asking if they would like to hang out at a venue called The Crocodile. There, they meet femme superstar Hannah (Lilian McGrady)  who chants her feminist manifesto “Girls to the front!” over a thrumming bass to an adoring crowd. Danni’s friend Jamie gets all up in this movement and finds her sense of self, immediately changing her aesthetic to match what a Riot Grrl is “supposed” to look like, complete with leather jacket, red lips and fishnets, Nguyen does a wonderful job portraying both Jamie’s bravado and her emotional complexity as she struggles balance her new Riot Grrl friends with Danni.  The costume design by Jeanine Fry informs us where each character is in their lives and gender expressions effortlessly. Danni, still trying to find their identity, is in their school uniform for most of the play.

While Jamie is off with the Riot Grrls, Danni meets some new friends in the form of an energetic ensemble that hangs out and plays punk music in the school gym. Noa (Jude Gordon), Coe (Jimbo Pestano) and Chris (Ben Flores), are all punk rockers who used to roll with Hannah until her movement got too exclusionary. We see this demonstrated very clearly when one of Hannah’s shows includes the words “no dudes no dykes no douchebags.” Coe uses they/them pronouns, Noa ze/sir, and Chris he/him. Chris points out that he is often excluded from feminist dialogue like Hannah’s because of his male presentation, but that erases the portion of his life where he was perceived as female, and his ability to talk about those injustices. Chris poses an interesting question: how can he possibly convince other people his masculinity isn’t a threat? It’s a really interesting argument that I’ve heard socially but was refreshing to see onstage, and Ben Flores’ thoughtful portrayal of this character really shines.

Coe and Noa were equally amazing ensemble members, with Noa’s dry wit cutting across the dialogue and generating big laughs from the audience. Noa refers to Jamie as the girl who “suddenly has all the buttons.” As someone who’s worked in community organizing, I found this particularly hilarious – there is always one eager person who shows up with 80 buttons on their jacket even though they’ve been to two rallies. In order to describe Jimbo Pestano’s portrayal of Coe, I have to be colloquial: Coe was serving band frontperson intersectional realness in a crop top and a flannel blazer with shoulder pads and skinny jeans. Serving. All. Day. One particularly fantastic lyric voiced by Coe and Danni I will be singing to all of my cisgender friends was “Nice gender, did your mommy pick it out?!”

The entire ensemble was strong, but there were many other notable performances, including the hilariously spacey record store clerk (Sharon Pasia), who encourages Danni to be a part of the movement, and not a part of the crowd. Danni’s mother, played by Mia Vivens, gives an endearing performance as a mother who has to navigate a new relationship with her child. Fresh from a divorce and struggling financially, she is often anxious and sometimes angry (but only, as she rightfully points out, because she’s black and had to sell her business and live in Tacoma at her husband’s behest for six years – I feel you sis), but never gives up on loving her family fiercely.

Brave Like Them is about the power of friendship, the discovery of personal identity, and the multifaceted aspects a movement needs to have so that it can succeed. It examines our fear of breaking apart systems and movements when we have nothing to replace them with, even if the movement is imperfect. A movement needs to encompass all people, or it inevitably dies. However, Brave Like Them does not condemn these movements, but examines how even when they are fleeting, even when we find ourselves in opposition to them, they can help us find the most important parts of ourselves.

Brave Like Them closes August 6th: http://aboutfacetheatre.com/

Directors: Ali Hoefnagel & Kieran Kredell
Assistant Dir: Donny Acosta
Devised by the About Face Youth Theatre Ensemble

FEATURING
Ophelia Ashley Murillo
Charlie Blackburn
Melody Derogatis
Ben Flores
Jude Gordon
Liv Haman
Elliot Hobaugh
Lillian McGrady
Sandy Nguyen
Kyla Norton
Sharon Pasia
Jimbo Pestano
Jae Taylor

PRODUCTION
Production Manager: Melissa Hubbert
Music Director: Nicholas Davio
Choreographer: Erin Kilmurray
Asst. Choreographer: Gabrielle Wilson
Lighting Designer: Kaili Story
Sound Designer: Brandon Reed
Costume Designer: Jeanine Fry
Set Design: Scott Penner
Prop Design: Meghan Erxleben
Stage Manager: Kasey Trouba
Asst. Stage Manager: Serena Dully

Photo Credit: (left to right) Jude Gordon, Ben Flores, Kyla Norton and Jimbo Pestano in About Face Youth Ensemble Theatre’s world premiere of Brave Like Them, co-directed by Ali Hoefnagel and Kieran Kredell. Photo by Emily Schwartz.

BIAS ALERT: I directed for the About Face Out Front 2017 Series, and identify as genderqueer.

Fisticuffs and Feminism in The Factory Theater’s ‘Fight City’

By Hallie Palladino

In a video interview on The Factory Theater website, Artistic Director Scott OKen says of the genesis of his latest play, Fight City, “I wanted to turn the current gender politics around… [and] I wanted to do an action play…that has a real kickass female police force that beat each other up with sticks.” This is exactly what Fight City delivers in the form of a clever comedy that satirizes standard sexist tropes within the action genre.

This sixteen actor ensemble piece, skillfully directed by Jill Oliver, is set in a dystopian 2077. The world order has collapsed. Yet in spite of the elimination of guns, society is violent and lawless. Women are an all powerful majority. Men are disenfranchised and organize for equal rights. The protagonist, Barb Davies (Jennifer Betancourt) is a skilled fighter with the Central City Police Department’s elite all-female fighting force, the ironically named Peace Keepers. Her fellow wisecracking PK compatriots are played with sharp-tongued swagger by Meredith Rae Lyons (White), Almanya Narula (Avory) and Ashley Yates (Argent). Together they fight criminals while delivering witty one liners.

A defining attribute of standard cops-versus-criminals action stories is an exaggerated performance of hyper-masculine stereotypes. Seeing a cast of women embody this style draws attention to it’s absurdity. Fight City humorously explores the performance of gender in a way similar to that of ATC’s production of Jaclyn Blackhaus’s Men on Boats, directed by Will Davis earlier this season. That show examined a spectrum of masculinities by casting an all female-identifying ensemble to play a variety of male archetypes. In different ways both plays explore how rituals of masculinity function to reinforce codes of behavior within male spaces.

OKen gets a lot of comedic mileage out of this gender role reversal. He has invented a parallel vocabulary of slang to fit the female-centric culture. Crude references to both male and female anatomy illuminates the role language plays in perpetuating gender stereotypes. Narula, as Barb’s salty partner, Avory, gleefully makes dirty jokes while slapping men’s behinds. Lt. Quaife (Jen Bosworth) rags on her husband. In some of the play’s best topical humor, Richards (Grace Odumosu), cheers on her activist boyfriend but still can’t help (wo)man spreading across an entire bench, and (wo)man-splaining to the guys about how oppressed they are, all while congratulating herself on being super woke.

In addition to the silliness, OKen offers up a scathing critique of the action genre’s normalization of rape culture. Showing men being treated the way women are typically treated in action plots reveals how reliant the genre is on jokes made at the expense of women, as well as how much of the drama in this genre is generated by women’s victimization and abuse. For instance in one scene, Erica (Kim Boler), in a sinister send-up of a stock bloodthirsty-villain, gets jacked-up on crack whiffits, kills people for fun, then celebrates by raping a man she’s lured into her hideaway. Later she callously brags about it.

The male characters in Fight City employ the usual range of strategies to cope with discrimination, harassment and abuse. Some of them try to brush it off and rise above, some employ subversive humor, others organize and fight back. Weatherfoot (Harrison Weger), the first male PK, patiently puts up with sexist jeers until he gets a chance to prove his moxie, following a classic arc usually assigned to female characters. Eric Frederkison’s performance as Verne, victim turned reluctant activist, reminds us of the serious stakes for men trapped in this system. And Relf, the much abused CCPD secretary, played sensitively by Josh Zagoren, highlights how debasing harassment is for those on the receiving end. It is also Relf, seeking relief from this abuse, and perhaps revenge, that leads him to turn informant for Erica who later rapes him. Oliver appropriately presents this as a frightening and serious moment.

As one might expect, the main attraction of Fight City is its stellar fight choreography. Fight Directors Maureen Yasko and Chris Smith offer up stage combat that’s intense, realistic and bloody. (If you sit in the front you may get splattered.) The fighting style unique to the PKs is also nicely integrated into the plot in a way that both forwards the story and enhances character development. The spectacle of all female fight sequences has potential to be overly sexualized, but Oliver steers clear of this. Her focus is showcasing what women’s bodies are capable of, presenting her characters as subject, not object. Carla McDowell’s costume design well-supports this choice managing to be tastefully futuristic without being fetishistic.

In a season of Chicago theater where the subject of police violence has taken center stage, it’s impossible not to register that, in spite of it’s escapist fun, Fight City is inescapably a play about a bunch of exceedingly violent cops. And while the play doesn’t get too philosophical about the problem of police brutality, it’s at least self-conscious of this fact. When Barb’s mother Margret Davies (Mandy Walsh), legendary for her fighting skills, drops by the department she asks, “Any good kills lately?” Under Margret’s tenure suspects were routinely taken “out back” to have their necks broken. Barb retorts, “We don’t have to do that anymore.” And, although Barb does a lot of head-bashing herself, the play hints she just might be able to restore at least a bit of due process to the system.

Fight City is an entertaining summer show with a strong feminist message and loads of exhilarating fight scenes!

Photos: Michael Courier

Directed by: Jill Oliver
Written by: Scott OKen
Runs from July 21st to August 26th
Fridays/Saturdays 8pm
Sundays 3pm

CAST

Barb Davies – Jennifer Betancourt
Margaret Davies – Mandy Walsh*
Avory – Almanya Narula
Weatherfoot – Harrison Weger
Argent – Ashley Yates
White – Meredith Rae Lyons
Lt. Quaife/Noone – Jen Bosworth
Erica Burdon – Kim Boler*
Valentine – Susan Wingerter
Chandler/Thug – Brittany Ellis
Price/Thug – Megan Schemmel
Verne/Steele – Eric Frederickson
Leo – Jae K. Renfrow
Terry – Linsey Falls*
Relf – Josh Zagoren
Richards – Grace Odumosu
Understudy (Leo/Terry/Verne) – Colin Milroy*
Understudy (Weatherfoot/Relf) – Josh Greiveldinger
Understudy (Steele) – Dan Krall
Understudy (Davies/Avory) – Kim Fukawa
Understudy (Argent/White/Richards) – Josephine Longo
Understudy (Margaret/Valentine) – Elizabeth MacDougald
Understudy (Erica/Lt. Quaife/Noone) – Sara Robinson
Understudy (Chandler/Price/Thugs 1 & 2)– Cory Griffith

CREW

Playwright – Scott OKen*
Director – Jill Oliver*
Assistant Director – Kevin Alves*
Stage Manager – Phil Claudnic*
Assistant Stage Manager – Jermaine Edward Thomas*
Production Manager – Manny Tamayo*
Assistant Production Manager – Greg Caldwell*
Fight Director – Maureen Yasko
Fight Director – Chris Smith
Set Design – Sarah Lewis
Technical Director – Amie Zimmerman
Lighting Design – Emma Deane
Master Electrician – C.W. Van Baale*
Sound Design – Ben Zeman
Costume Design – Carla McDowell
Props Design – Albert Gogetem
Graphic Design – Jason Moody*
Fight Captain  –Mandy Walsh*
Fight Captain – Meredith Rae Lyons
Consultant – Maggie Scrantom
All staged intimacy was professionally designed

*Factory Ensemble Member

BIAS ALERT: Both Brittany Ellis and Ashley Yates have acted in my work in the past and I think they’re both brilliant.

Remembering Romance Under The Setting Sun in ‘The Glass Menagerie’

The premise of the well-known American drama The Glass Menagerie by Tennessee Williams centers around single mother Amanda Wingfield, her oldest son Tom, and his little sister Laura who have found themselves in a financial squeeze since only Tom is able to work. Out of desperation, Amanda decides to try and set Laura up with a “gentleman caller,” a man from Tom’s work named Jim. What differs in this production is the centering of people of color and women in the casting of the play, a point of artistic pride for director Lisa Portes. Amanda and Laura’s predicament doesn’t come across as the result of a debutante who doesn’t believe women should toil, but rather a societal limitation imposed by the times (the play is set in St. Louis in 1937). This increased my empathy for these characters ten-fold.

The  Glass Menagerie is a play I read and loved, but quickly shelved because I didn’t want to get too attached a play in which I’d never be cast. This is why Lisa Portes’ direction of The Glass Menagerie at Cal Shakes is so essential for children of color to see, and within the first five minutes I was envious of all the young people and students who will see this play and never question their place in it.

Tom, played by Bay Area legend and Campo Santo Co-Founder Sean San José, is the first character we see. As narrator and character, he is the crux for most of the movement in the play, master of this dream universe, and guides the moving furniture around the space. These movements increase in difficulty and attention as the play moves forward, which creates the feeling that this memory play and this family is only held together by Tom’s sheer effort. This made me pay attention to Raquelle Baretto’s costume design – they have put together easy to wear and move in pieces for the artists that are elegant and often striking. The opening design and staging of the play is a wonderful duet between costumes and lighting (Xavier Pierce) that lives in a moment beyond time. Baretto makes use of Laura’s affectionate nickname “Blue Roses” by dressing Laura in a sweet patterned dress covered in blue roses.

Sean San José’s gentle depiction of Tom creates a generosity of spirit this character is usually denied. This pays off when Tom breaks the menagerie animal, he finally becomes frustrated and dangerous in his ability to hurt the family. At particular risk in this play is his differently abled sister Laura, played by New York based poet and activist Phoebe Fico. Fico makes a striking and elegant stage debut as Laura, and we empathize with her at every turn. Laura is a character that I’ve usually seen played with a debilitated spirit, but Fico’s Laura is full of endearing smiles and sweet quips that make her moments of devastation hurt even more. Phoebe Fico sparkles in her acting debut, and deftly works the broad Cal Shakes stage with an inherent grace. I could tell it was her debut – if only because everyone else onstage is so seasoned – yet I found myself completely forgiving the absence of technical training in exchange for the genuine light that exudes from Fico. I support Cal Shakes’ decision to debut a new actress on an equity stage. A tradition of the past, it is incredibly rare to do so now, but the risk paid off tremendously.

Karen Aldridge gives a hilarious and warm tour de force of a performance as Amanda. When attempting to get Tom to bring home a gentleman caller, she hollers at him from the front porch as he traverses through the audience to get to work, eventually eliciting applause from the audience at the end of this scene on opening night. A particularly slick bit of directing from Lisa Portes and Aldridge’s animated demeanor gives life to a typically dull scene: Tom describing Jim, the gentleman caller to Amanda. Tom and Amanda move together to construct the full parlor including hanging windows and arranging the dining table during this exchange, giving it buoyancy.

The set, designed by Annie Smart, is bare and simple but surprisingly flexible. One of the most difficult things about the Cal Shakes space is how to define it. Each designer and director has to decide where the limits are for their world and build something to illustrate that, and though you can’t cover the forest landscape you can decide how to utilize it. In this design, a huge frame gives us the context of the home, and it worked in pulling my focus to the center. As it got dark I don’t particularly recall seeing the forest and even when it was visible it felt more like looking through a window. Rolling and hanging furniture is slid into place during the play, and the worst thing I have to say about it is that I was so struck by its compositional beauty I thought it was all a bit too nice for the financially challenged Wingfields. However, it’s a memory play, and who complains about things being unbelievably pretty?

As the set comes together and time marches on, the gentleman caller advances, and his entrance is beautifully highlighted by Brendan Aanes’ haunting sound effects. When we are thrust into this romantic memory by the arrival of Jim, the effervescent Rafael Jordan, a truly magical feat in the field of lighting is delivered by Xavier Pierce. He gives us parlor candlelight, despite the fact that we are outside and it’s dusk. It’s gradual and does not try to pretend that we are not outside, which makes it feel even more real once the light cue settles. I gasped, and everyone outside the show was talking about that visually stunning moment.

The Glass Menagerie is a stunning memory play and a must-see experience at the Cal Shakes Bruns Amphitheater. It runs through July 30th!

Tom: Sean San José
Amanda: Karen Aldridge
Laura: Phoebe Fico
Jim: Rafael Jordan

Director: Lisa Portes
Playwright: Tennessee Williams
Dramaturg: Philippa Kelly
Stage Manager: Cheryle Honerlah
Asst. Stage Manager: Laxmi Kumaran
Lighting Designer: Xavier Pierce
Scenic Designer: Annie Smart
Costume Designer: Raquel Barreto
Sound Designer: Brendan Aanes
Casting Director: Clea Shapiro
Acting Coach: Margo Hall
Text, Vocal and Dialect Coach: Lynne Soffer

Photos: Kevin Berne

BIAS ALERT: This writer worked for Cal Shakes in various capacities including understudying, ending in 2016.