Reviewing Theatre For Over 40 Years
Tag Archives: Apollo Dukakis
September 30, 2017Posted by on
Jean Giraudoux’s classic play “The Madwoman of Chaillot” is one of those plays everyone should see at some point in life. Though written in 1943, during the Nazi occupation of France, and only performed after the playwright’s death, it is often associated with a celebration of the end of tyranny. The play was actually written in 1943, during that occupation, and the overtones of absurdism it contains allow for it to say much more than just the idea of France triumphant. The production now open at A Noise Within allows for these larger interpretations.
The rather fantastical tale follows the workings of Countess Aurelia, whose eccentricities all center around her sense of community in the section of Paris known as Chaillot. In the inn she frequents, she overhears financiers and prospectors plotting to tear up the Chaillot in a quest for oil, and begins to develop ways to both remove them and others who would, for profit, be so disrespectful to the good of their own community. Helped by an odd assortment of friends, including those busily arguing long-dead causes of one kind and another, she finds help and hope from a younger generation who begin to share in her dreams.
Deborah Strang floats through the play as the Countess, as a spirit lightly out of touch with the now but deeply concerned with what lasts in the world. That sense of wishful fantasy embraced in tones of solid reason allows the play expand to as it does. Rafael Goldstein, as the tormented young man she scoops into her sphere, gently becomes the play’s sense of hope, aided by Leslie Lank’s charmingly unaware waitress.
As the villains of the piece, Apollo Dukakis, Wesley Mann and Armin Shimerman, as the Baron, President, and Prospector respectively, radiate the self-regard and profit-mongering that embodies everything a lover of beauty like the Countess would abhor. Other standouts include Veralyn Jones in the dual roles of a compassionate man of science (a doctor) and one of the Countess’ cohort of imaginative “madwomen”, Jay Lee as the observant deaf mute, and Richy Storrs as the street singer whose attempts to make music in the midst of upheaval prove particularly charming.
Director Stephanie Shroyer keeps the characters engaging and the pace – easily dragged down by long speeches – moving in such a way as to keep the audience engaged. The open set by Angela Balogh Calin provides many spaces in one, which also helps, and the occasional snips of classical music in Jeff Gardner’s sound design become fascinating in their own right – especially the use of pieces written by Soviet composers to underscore the presence of various nefarious persons marching toward their collective doom. Interesting subtext comes with that, since one rarely associates Soviet principles with corporate avarice.
As I said at the start, “The Madwoman of Chaillot” has become one of those plays everyone who aspires to being literate should see at some point, and this is a sound production at which to do so. What proves particularly fascinating, however, is how well the play in all its fantasy speaks to a modern age. The evil to be defeated is corporate greed. The way that greed manifests is in the destruction of an environment for fossil fuel. Interesting how little that particular story has changed in the intervening years.
What: “The Madwoman of Chaillot” When: Through November 11, 7:00 p.m. October 1 and November 5, 7:30 p.m. October 26, 8 p.m. October 20, 21, 27 and November 11, with 2 p.m. matinees October 1 and 21, and November 5 and 11 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25 Info: (626) 356-3100 or anoisewithin.org
March 29, 2017Posted by on
It is an interesting new spin on Shakespeare’s “King Lear” to look at the downfall of this unwise king from the lens of Alzheimer’s Disease. That is what director Julia Rodriguez-Elliott does in the production now in repertory at A Noise Within. It turns the focus almost exclusively on Lear, and allows for his admittedly conniving daughters to seem legitimate in their frustrations and outrage with him (at least at first). As someone who has watched a parent dissolve into this dread disease, I can say that the concept makes for interesting conversation.
However, when taken as a whole, to dismiss his behavior as the result of this condition is to negate much of the rest of what Shakespeare has to say about familial love, envy, and lust for power. It could (though actually does not) make a uniquely wrenching star turn for Geoff Elliott in the title role, but at what cost? It is too easy on Lear, for one thing, and twists the focus away from other important themes.
Essentially, Lear is a foolish man. Having ruled his country with intensely loyal people around him, he is used to expecting richly voiced praise. When he insists his daughters say how much they love him, he gets two fulsome answers and one honest, practical one, and turns on this last as a sign of disrespect. Thus, he hands over power to the two women who have his interests least at heart, and their own greed at the fore. He becomes an inconvenience and they whittle away at his dignity and even ability to defend himself until there is nothing left. Madness, thus, becomes a thing of circumstance, playing on a weak mind but not on a disabled one, as one can tell when he comes to himself toward the play’s end.
In the ANW production this last thing is made tricky by the disease itself – one which is emphasized over and over by projections of MRIs of slices of the brain which add color to the intentionally bleak set. When you descend into Alzheimers you forget who you are. No coming back from that.
Still, the larger loss is to the importance of and subtext about the moral decay present in daughters Goneril and Regan, and in the villainous Edmund, who determinedly destroys his legitimate brother Edgar and his father, the Earl of Gloucester. It also makes the dogged, sacrificial devotion to Lear by the banished Earl of Kent make less sense, and it makes the king’s Fool occasionally rather superfluous.
Finally, this interpretation leaves Elliott’s Lear without much room to expand. By making him significantly altered even at the start, he blossoms into what becomes (in this interpretation) an unreasoning fury so early that the rest of his long journey becomes a certain amount of emotional station-keeping. Still, as expected, Elliot uses Shakespearean language as if it was his own, and consistently stays true to the concept of this particular form of human disintegration.
Indeed, the cast itself is splendid. Trisha Miller and Arie Thompson advance the two older sisters from a radiation of privilege and power to a sense of self-focused obsessive, destructive behavior. In this they are matched by Jeremy Rabb as Regan’s noble, but easily vicious husband, while Christopher Franciosa provides an increasingly empowered foil for Goneril as her equally high ranking spouse. Freddy Douglass radiates evil in every tone as the deadly Edmund, and Rafael Goldstein handles desperation well as the maligned Edgar.
Apollo Dukakis gives the Earl of Gloucester some of what one hopes to see in a Lear: a happiness born of power and authority which dissolves thanks to his undeservedly horrifying fate. Perhaps most memorable, in this production, is Kasey Mahaffy’s wry, tuneful and audacious Fool – whom Rodriguez-Elliott has given a most spectacularly apt exit.
Fred Kinney’s bleak but extremely adaptable set design underscores the militaristic nature of the piece, which has been reset as if in the mid-20th century. Angela Balogh Calin does her best work in designing the dresses worn by the royal women, while Robert Oriol’s music sets the sense of doom throughout the piece.
In short, this is a good production of “King Lear,” except that in one important way, it isn’t. All the parts are there, but in service to a somewhat skewed interpretation which denies the larger play much of its power. “King Lear” plays in repertory with “Ah, Wilderness” and the soon-to-open “Man of La Mancha”.
What: “King Lear” When: in repertory through May 6, 7:30 p.m. April 13 and May 4; 8 p.m. April 8, 14, 23 and May 5; 2 p.m. matinees April 8, 23, and May 6 Where: A Noise Within, 3352 E. Foothill Blvd in Pasadena How Much: from $44, $20 student rush Info: (626) 356-3100 or http://www.anoisewithin.org
March 17, 2016Posted by on
I confess. I love the plays of George Bernard Shaw. When well done, even the most prosy of them can be a fun, and his best work shines with a kind of internal delight, as his objective of entertaining while saying something societally important proves a success. Such a play, and such a production is the newly opened “You Never Can Tell” at A Noise Within. Gifted with virtually perfect casting, the intelligent and lively direction of Stephanie Shroyer, and solid visuals, it just works. And when Shaw works, you’re in for a treat.
To be frank, the play is one of Shaw’s better discussions of “the modern woman,” circa 1897: tackling their right to independent thought, the assumption of male supremacy in marriage, and the ability of forward thinkers to fit into British society. That some of its essential themes are still relevant today proves why such plays are still staples of English-speaking theater.
Deborah Strang is Mrs. Clandon, a writer famed for books on “The 20th Century Woman” who has returned with her young adult children from Madeira to a local British seaside resort. Strang gives her character that kind of inborn confidence which makes her sure she knows not only what is good for women in general, but for her own children: older daughter Gloria and somewhat younger twins Dolly and Philip. Whether they, especially Gloria, can live up to those expectations, or even want to in the end, is another matter of course.
Richy Storrs and Erika Soto are a hoot as the twins, completely unable to hold their tongues on any subject, ferociously curious and absolutely untamable. Jill Renner gives Gloria a wonderful combination of staunchness and indecision, as she gradually falls for a penniless dentist with comparatively old fashioned ideas she reaches to challenge. Jeremy Rabb, as Mrs. Clandon’s old friend and solicitor personifies the staid narrow-mindedness of the matured free thinker, while Apollo Dukakis finds great humor in the sour old man who is both the dentist’s landlord and Mrs. Clandon’s abandoned husband.
Still, the best performances of this splendid company have to be Kasey Mahaffy, complete in tone and body language as the very Shavian dentist – swayed by passions, yet convinced he understands women, and Wesley Mann as the tolerant and intensely observant waiter who cares for the Clandons at their hotel. Also worthy of note in a brief but delightfully “deus ex machina” role is Freddy Douglas as the waiter’s barrister son.
Yet to list the individual performers and their fine work is only the half of it. The sense of ensemble is palpable. The timing is right on point throughout. The cleverness of the direction extends even to a needed shift in Don Llewellyn’s elaborate and very three-dimensional set, which becomes almost a character during the move. Angela Balogh Calin gives the costuming a solid polish, and in general the atmosphere places the play in just the right point in time.
“You Never Can Tell” is intelligent, and very funny. Though Shaw’s focus is on the artificial and damaging understanding of women as a lesser sex, he couches the whole thing as almost a farce – a terrific spoonful of sugar for his more serious message. The result is a production well worth seeing. “You Never Can Tell” plays in repertory with “Romeo and Juliet” and soon with “6 Characters in Search of an Author.”
What: “You Never Can Tell” When: Through May 15, 7 p.m. March 20, April 24 and May 15, 7:30 p.m. April 14 and May 5, 8 p.m. April 9 and 30, with 2 p.m. matinees March 20, April 9, 24 and 30 and May 15 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $44, with student rush $20 Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org
October 2, 2014Posted by on
Of all the works of Oscar Wilde, “The Importance of Being Earnest” remains the most commonly produced. This, in part, because the tale is so silly, and in part because it pillories pomposity and rigid morality with such complete delight. Making fun of vapidity, the class system, and the spoiled is always a hit.
Now in a very classy new rendition at A Noise Within, the show offers up some interesting choices, a beautiful setting, and all of that satisfyingly uncomplicated humor. It makes for a relaxing, entertaining evening.
The tale, for someone who somehow has not managed to bump into the thing before, is essentially this: Jack Worthing, a country squire with responsibilities for a young and impressionable ward, has created an alternate persona so he can be frivolous when in London: a fictional brother named Earnest, whose name he adopts upon arrival in the city. As such he becomes engaged to Gwendolyn, the daughter of a noblewoman, who states she cannot marry anyone whose name is not Earnest.
Jack’s closest city friend, Algernon, already adroit at telling tales to avoid social obligations, adopts the persona of Earnest in order to ingratiate himself with Jack’s ward in the country, Cecily. Indeed, he proposes to her. Then Cecily and Gwendolyn meet, and this becomes complicated, to say the least, as they discover they are both engaged to Earnest Worthing. Comedy ensues.
Adam Haas Hunter makes a most engaging Algernon, draping himself across furniture and radiating a rather dissipated innocence. By comparison, Christopher Salazar’s Jack, though engaging in the second act country setting, seems a bit underplayed as the supposedly dissolute Earnest (something not helped by the only uninspired costume in the show).
Jean Gilpin gives the pompous Lady Bracknell a wry sense of humor along with the usual officiousness, which makes her far more fun to watch. Carolyn Ratteray as Gwendolyn, and Marisa Duchowny as Cecily utter the vapid piffle of their parts with such earnest and convicted intent as to heighten the comic aspects of their moments on stage.
Jill Hill makes a fussy and more than usually bemused Miss Prism, Cecily’s tutor, and Alberto Isaac leers with such innocence at her, as the country parson, that there is great charm in the result. Also worthy of note is Apollo Dukakis, taking on the roles of both Algernon’s and Jack’s household servants with a worldy-wise air in once case and a bemused confusion in the other.
Director Michael Michetti has brought an unusual but logical spin by turning the dilettante Algernon into Wilde himself, complete with flowing locks and moderately outrageous clothes. Operating on a set, by Jeanine A. Ringer, with the feel of a hand-colored pencil drawing, and with costumes by Garry D. Lennon which echo the color scheme and add their own little bit of the florid (with the exception of the instance noted above), there is a unified feeling to this production which does nothing but enhance the comic flow.
“The Importance of Being Earnest” is, frankly, difficult to kill, but is far more satisfying in the hands of experts. The production at A Noise Within fits that bill almost all the time, leaving one laughing and charmed by a silliness which has remained constant for over 100 years.
What: “The Importance of Being Earnest” When: In repertory through November 22 – 8 p.m. October 4 and November 8, 14 and 21, 7:30 p.m. October 23 and 13, and 2 p.m. October 5 and November 2, 8, and 22 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $40, with student rush and group ticket prices available Info: (626) 356-3100 ext. 1 or http://www.anoisewithin.org