Reviewing Theatre For Over 40 Years
“Collective Rage” Fizzles at Boston Court
If a play intends to use cultural references in the course of its work, it probably makes sense to be sure that the audience will catch a clue as to what those references are. Indeed, without the commentary by a staffer in the program for The Theatre@Boston Court’s production of Jen Silverman’s “Collective Rage: A Play in 7 Boops,” the play would lose much of its ability to make a point. As it is, assuming that people will understand the questionable content of early Betty Boop cartoons is a bit like assuming everyone knows that Barbie dolls are essentially copies of a 1940s “action figure” from an underground, sexually explicit German cartoon strip. Didn’t know that? You see my point.
With that said, this examination of – one assumes – the way men think about women thinking about women has some fascinating moments as stereotype meets stereotype in reference to female sexuality. Indeed, the constant reference to the term Donald Trump used to describe female parts becomes elemental in the increasingly surreal storyline, as if it was the only thing that women value in themselves and others.
The five characters are all named Betty Boop, and range (in sequential number order) from a bored socialite angry at her husband’s casual dismissal of her angst, to an isolated and ignored wife, to an ambitious if under schooled,overtly sexual cosmetic counter saleswoman, to a proudly butch lover of trucks, and finally an androgynous woman recently released from jail. What seems to become an overarching theme among them all is the adaptation they find necessary (well, except perhaps the saleswoman, who is busy trying to reinvent herself) to a male view of things. The more masculinely they can see themselves, the more they find power. But then, isn’t that the stereotypical male assumption about powerful women?
What makes this work as well as it does is both the quality of ensemble, and the consistent vision of director Lindsay Allbaugh. Through projections, most of which create chapter headings for this extremely episodic tale, and the use of spare and thus easily repurposed set pieces, courtesy of Francois-Pierre Couture and properties designer Jenny Smith Cohn, the individual snapshots of dialogue and character development are woven together better than one might expect. As a group, Elyse Mirto’s socialite, Courtney Rackley’s mousy wife, Anna Lamadrid’s streetwise sexual being, Karen Anzoategui’s reliable pal, and Tracy A. Leigh’s practical ex-con weave their stories together with a remarkable precision, taking the often somewhat artificial dialogue in very human directions.
Yet, whether this – in the end – leads to a coherent whole is something else again. The concept wants us to follow along as these five women are placed up against the predatory sexual attitude the males in the Max Fleischer films of the early ’30s showed toward Betty. Thus, what they apparently want is each other, and a masculine sense of entitlement, even as they constantly reframe that conversation. In the end, however, the resolutions seem trite rather than profound. If that is also to be a reflection on the cartoon which inspired it, one is left asking whether there is enough “there” (or even, as titled, rage) there to warrant attention.
What: “Collective Rage: A Play in 5 Boops” When: Through March 19, 8 p.m. Thursdays through Saturdays, 2 p.m. Sundays, with an understudy performance 8 p.m. Wednesday, March 1 and a $5 performance 8 p.m. Monday, March 6 Where: The Theatre at Boston Court, 70 N. Mentor Ave. in Pasadena How Much: $39 general, $34 seniors, $20 student Info: (626) 683-6883 or http://www.bostoncourt.com