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Tag Archives: Bruce Norris

A Puzzle Worth Working On: “A Parallelogram” at the Mark Taper Forum

Marylouise Burke explains the future in "A Parallelogram" at the Mark Taper Forum [photo: Craig Schwartz]

Marylouise Burke explains the future in “A Parallelogram” at the Mark Taper Forum [photo: Craig Schwartz]

It’s a provocative question, asked early in Bruce Norris’ play, “A Parallelogram,” now at the Mark Taper Forum. The central character posits “If you know in advance exactly what was going to happen in your life, and how everything was going to turn out, and if you knew you couldn’t do anything to change it, would you still go on with your life?” Once again, the author who won a Pulitzer Prize for his controversial “Clybourne Park” is making an audience pay close attention, laugh from the gut, and ponder.

Under the direction of Anna D. Shapiro, “A Parallelogram” is fantasy, philosophy, and perhaps troubling truth, peopled with characters you genuinely want to know, struggling with huge questions beyond their ability to process. And it is funny – very – at just the moments when it would otherwise be scary as can be.

Bee is living with Jay, a man who left his wife and kids to be with her. On one normal afternoon, while Jay fusses at her and watches a ball game, while the gardener we will soon know as JJ mows the lawn, Bee discovers she can be in conversation with her future self. Or is it that Bee 2, older and complacently dumpy, uses an elaborate remote control to talk to her earlier self? Or is something else going on?

Regardless of the eventual answers an audience may make to those questions, the younger Bee begins to seem pretty demented as she starts predicting the future based on her otherwise unheard conversations. The dialogue with her future self takes over her life. But then, perhaps that was always going to happen. Or, perhaps, the older self she’s talking to isn’t really there. All things are possible.

The play is beautifully crafted. Shapiro’s crisp and innovative direction enhances that fact, aided tremendously by Todd Rosenthal’s extraordinarily facile set. A near-perfect cast takes its rather normal characters down an extraordinary rabbit hole, and the audience proves more than happy to follow.

Marin Ireland in "A Parallelogram"

Marin Ireland in “A Parallelogram”

Marin Ireland manages to make Bee seem as logical and practical as the next person – perhaps even more so – and endearing at the tensest moments. The wrestlings with logic amidst the fantastical nature of the entire proceeding, makes this straightforward attitude essential, and her warmth makes the audience care. As the boyfriend who must come to terms with the oddity of his girlfriend’s new behavior, Tom Irwin becomes the essential angst-filled but loving middle-aged man, who cannot help but question his life decisions as this tale unfolds. Most impressive are his frighteningly even “rewind” moments, duplicating his own actions over and over with convincing sameness of tone and movement.

Carlo Alban, as JJ, the gardener who provides a window on practical poverty and elemental relationship, manages to create a character of limited intellectual scope without turning the character into a stereotype. And, best of all, Marylouise Burke is absolutely riveting – funny, flip, intense and fatalistic – as the older Bee, apparently controlling access to and commenting on every action her younger self makes in the world. She commands the stage, and her part and her portrayal make the show the charismatic piece it is.

There are moments in “A Parallelogram” which remind one just slightly of Thornton Wilder’s “The Skin of Our Teeth,” both in terms of narrator and in terms of the circular nature of the tale. That’s not a bad thing, as both plays highlight the intellect of the audience, in part by making them laugh. And, though this show will definitely work the intellect, it is very, very funny. Still, calling it a comedy, or using words like “hysterical,” would miss the rather huge point about humanity it is also making.

Catch this play while you can. The concept is intriguing, the performances are highly engaging, the questions one is left with will keep the brain busy for days, and the points it makes may cause a certain amount of personal reevaluation. Not bad for a couple of hours in the theater.

What: “A Parallelogram” When: Through August 18, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. on Saturdays, and 1 p.m. and 6:30 p.m. on Sundays Where: Mark Taper Forum, in the Music Center, 135 N. Grand Ave. in downtown Los Angeles How Much: $20 – $70 Info: (213) 628-2772 or

Looking Back With Disquiet: “Clybourne Park” at the Taper

(L to R) Damon Gupton, Crystal A. Dickinson, Annie Parisse and Jeremy Shamos in the Mark Taper Forum's Clybourne Park

One of the seminal plays of the civil rights era was Lorraine Hansberry’s “A Raisin in the Sun,” detailing – among other things – the struggle of the Youngers, an African American family in Chicago, to leave their downtrodden neighborhood. At the end, they pack up despite objections from their new white neighbors, and head for the middle class enclave of Clybourne Park.

Playwright Bruce Norris’ modern response to Hansberry’s tale, “Clybourne Park” brings to the Mark Taper Forum an examination of both the changes fifty years have brought in attitudes, and the underlying tensions of property, history and sheer insensitivity which still divide. In the process the play proves uncomfortable, funny, touching, explosive and richly challenging. It can be both humorous and disquieting to acknowledge the social tensions liberal America tends to feel have evaporated which have, rather, gone underground.

The first act looks at the Hansberry story from the other side, as we meet the family moving out so the Youngers can move in. Russ and Bev are packing up to leave, unable to cope with events which have taken place in the house. Their maid helps them pack and copes with the obvious lack of understanding her employers have about her life – a life she keeps so intentionally separate she is upset at her husband’s willingness to volunteer help in the labor involved with emptying a house. Soon the family is joined by the vapid but ineffectual local minister, and by Karl – the Hansberry character who tried to talk the Youngers out of buying in this neighborhood – now trying to talk Russ out of selling to an African American, even as he hovers over his own pregnant, deaf wife.

The second act, fifty years later, revisits the now derelict house, which Lindsey and Steve intend to tear down in order to build a new one in this gentrifying, formerly African American neighborhood. In a meeting involving development agency and architectural representatives, the authors of a neighborhood committee bent on preservation, including a Younger relative, face off over yet another potential change, all the while construction workers unearth essential facts of the house nobody may ever care to see.

The joy of this play is the crafted humanity of its characters. Each is trying to be nice to the other. Each is dealing with pent frustrations which bubble over in ways they neither expect nor can control. Yet, you end up in sympathy with them all, even those whose dated ideas or Starbucks liberalism prove deeply, spiritually out of tune.

The cast, which doubles in the 1959 and 2009 parts, provides a striking ensemble. Director Pam MacKinnon has created a community on the stage for each act, with the kind of careful timing which seems totally natural even as it is pinpoint precise. Frank Wood and Christina Kirk’s interplay as Russ and Bev swell with the underlying emotional struggle of leaving difficult history, and one’s sense of belonging, behind. Jeremy Shamos gives both the vibratingly anxious Karl and the earnestly myopic yuppie Steve such independent individuality it is sometimes difficult to believe they are played by the same person.

Crystal A. Dickinson brings practical dignity to the maid surrounded by the casual racism of an age, and an intensity of purpose to the young woman determined to do what she can to save her own heritage. Likewise, Damon Gupton gives the servant’s amiable husband a kind of relaxed dignity in the face of a stratified society, and his more modern counterpart a quietly suspicious sense of self.

Brendan Griffin offers up the more vapid characters: the minister who has no idea how to salve the deep wounds which are making Russ and Bev leave, and the detached planner focused on contracts while the meeting around him explodes. Annie Parisse also provides two characters of such distinct individualism it is startling to think they are performed by the same person, as first the deaf woman isolated from her rather clueless neighbors and then as the young woman profoundly excited to revitalize a run-down neighborhood.

Daniel Ostling’s evocative set works wonderfully, down to just the right period wallpaper. Ilona Somogyi’s terrific costumes provide an instant telegraph of period and relationship which speeds understanding and enriches the whole.

“Clybourne Park” will not be the easiest play you will see, but perhaps the most telling. You may laugh, or you may gasp as one after another the cherished assumptions about another age and about our own are taken out and examined with a microscope. Interestingly, this may play best when examined next to the Hansberry original. A fine production of “A Raisin in the Sun” is playing at the Center Theatre Group’s Kirk Douglas Theatre in Culver City with just that juxtaposition in mind. Savor both, and then take your friends out to dinner and let the discussions begin.

What: “Clybourne Park” When: Through February 26, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays Where: The Mark Taper Forum at The Music Center, 135 N. Grand Ave. in Los Angeles How Much: $20 – $70 Info: (213) 628-2772 or

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