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The latter, the seminal work of Tom Stoppard, demands a specific rhythm from its cast, as 20th century nihilism swirls around Elizabethan storytelling, and wry humor coats the original tragedy. This odd juxtaposition is the heart of why the play works so well, if it is done right. At A Noise Within, it is done right.
Kasey Mahaffy and Rafael Goldstein are the title characters, summoned for reasons they don’t understand to a castle full of tragic drama they are not connected to. As such, they concentrate on the vagaries of fate, the potential purposelessness of their own existences, and the simple question of what they can possibly be supposed to do regarding the unintelligible theatrics floating around them. The two create the sense of bond which makes the entire play work, and create characters of memorable quirkiness.
As the head of the troop of players who will be elemental to Hamlet’s confrontation of his uncle, though they don’t know it, Wesley Mann gives just the right tone of insular irony to the part. In this he is backed by as peculiar a crowd of performers – from the wistfully abused Alfred (Sam Christian), joined by Mark Jennings, Jonathan Fisher, Philip Rodriguez, Oscar Emmanuel Fabela – as an ANW audience could expect.
Paul David Story, as Hamlet, Jonathan Bray as his uncle Claudius, and Abby Craden as his mother Gertrude make the sudden injections of Shakespearean characters and speech seem natural segues from the contemporary discussions of the title pair. Indeed, the entire crew of Shakespeareans, by their seeming ease with the plot going on offstage, set the tone for the disconnect between that and these two hapless, somewhat dimly philosophical figures whose doom is ordained by elements outside their understanding.
Director Geoff Elliott does some of his finest work piecing this thing together into an entertaining, wistful, cohesive whole. A lot of this is pacing, and a lot of it is creating space and action for the many long and elaborate discussions between two clueless men. Costumer Jenny Foldenauer manages the historic and the fanciful equally well, while Frederica Nascimento’s set, with its seeming scrim between “Hamlet” and this play, helps signal the intersections between the two.
This “Rosencrantz and Guildenstern Are Dead” is funny, intellectually satisfying, cleverly staged, and one of those moments when ANW tropes actually propel the sense of the thing forward. It is most certainly worth a look, especially for anyone who is a Shakespeare nut, like me.
“Rosencrantz and Guildenstern Are Dead” plays in repertory with “A Picture of Dorian Gray.”
What: “Rosencrantz and Guildenstern Are Dead” When: through November 18; 2 p.m. October 21 and 27, November 4, 10, 17 and 18; 7 p.m. November 4 and 18; 7:30 p.m. October 25; 8 p.m. October 26, and 27, November 9, 10, and 17 How Much: from $25 general, $20 Student Rush with ID an hour before the performance
Of all the history plays of Shakespeare, the one which has always fascinated me most is “Henry V”. From its prologue, which defines the very essence of live theater and the suspension of disbelief, through the humanity of its central figure wrestling with the understood demands of the crown and the lasting echoes of a misspent youth, it has an articulation of language and emotion which have always caught my imagination.
Now a new, pared down version of this great play is opening the spring repertory season at A Noise Within in Pasadena. Gifted with strong and versatile actors and a direction which keeps the play from becoming too static, it seethes with the balance of forces which can make a rational man move into war, and a different, more immature one look upon it as a playful adventure. The great speeches are there, and the essential elements, but the particular editing of the script (though some version is almost always necessary for modern playgoers) leaves a question mark or two.
In this production, and with a couple of exceptions, everyone in the comparatively small company plays at least two and sometimes three parts. Everyone joins in to give parts of the various speeches assigned to Chorus, rather than have someone assigned that part. This proves an interesting effect, although cutting up the speech into chunks may dilute the power of what is said. Even so, that it all works as smoothly as it does is a testament to the versatility of the company, and the singular vision of the directors.
The story is essentially that of Henry’s determination to defeat the army of France and retake lands there which had traditionally belonged to the English crown. It is a tale which, for two reasons, would have been familiar to Shakespeare’s audience. First because Henry was seen and celebrated as a great warrior king. Second because this play followed upon two others about Henry’s youth, and his escapades with some rather questionable cronies, including the wildly popular Sir John Falstaff (Henry IV, parts 1 and 2) and an extra play just about Falstaff (The Merry Wives of Windsor),
Indeed, that character’s popularity had obviously begun to weigh upon the playwright, or the actor playing Falstaff, to the point where this play is used to kill him off.
Which is where the production at ANW becomes interesting. In the editing of the play done, one assumes, by directors Julia Rodriguez-Elliott and Geoff Elliott, the comic characters who had surrounded Falstaff are given fairly short shrift. They show up briefly and some of their more comic moments are cut.
This is perhaps because the focus of this spring repertory is on courage, and too much emphasis on the bawdy or self-serving nature of these comedians would detract from that larger theme. Olivier did much the same – needing to concentrate on Henry the hero – when filming the play during World War II. It works. Still, leaving in an execution scene involving these folk, when you have not explained why that execution would be hard for Henry, makes him seem less conflicted about his role in the life and death decisions his position makes him take. That is unfortunate.
Yet, despite this, the play is very well performed. Rafael Goldstein is Henry, making him intense and direct, but as human as Shakespeare intended – able to rouse men to action and to loyalty while still wrestling with the depth of responsibility which comes with what he is doing, Goldstein excels at this kind of balance, and his work centers the play. As his most obvious foil, Kasey Mahaffy is at his best as the petulant Dauphin, while Erika Soto makes lovely work of the French princess, Katherine, who will be one of Henry’s prizes if he wins. All of this is surrounded by a solidly ensemble cast involving many of the best of the ANW company.
Still, there are a few question marks which must be addressed. The set, by Frederica Nascimento is imposing, but cumbersome. It is often positioned in a way which appears somewhat illogical, and gets in the way of some of the battle scenes. Costumer Angela Balogh Calin has created amorphous-period clothing which suits the militarism of the piece, and allows for the carrying about of broadswords, but why has the fight choreographer, Kenneth R. Merckx, Jr., only given shields to the French? It makes for much noise, but a seemingly unequal fight.
Most uncomfortably, the choice to keep a line without its reason. A sequence has been cut in which the French circumvent Henry’s lines, burn his army’s tents and massacre all the young squires waiting behind the battle. That is fine, as it neatens the whole battle concept, but then why leave in Henry’s statement, written specifically to address hearing of the massacre of these boys, as a closing line to that battle sequence? Without context it becomes wryly comic, and seems out of tune with the character or what is going on.
Which is all to say that the performers are very good, and the production proves powerful and interesting. Its visual feel, except when the set gets in the way, has an authority which ties the piece together well. Using a cast of 16 to play 30+ people resonates with what Shakespeare himself was confronted with. And the play works. One could wish some edits were designed differently, and that a Chorus was there as a single voice to call all to use their imaginations, but Henry survives all of this, and does so with style.
Go see “Henry V”. It is not often done, and this one captures the central points of Shakespeare’s concept: that a man once profligate has molded himself into an inspiring leader, but at a cost. That this king knows war is hell, but counts on God and the loyalty of his diverse army to push through against remarkably uneven odds to the attainment of what he truly believes to be the right. And all this with some of the Bard’s most inspired language.
“Henry V” will soon play in repertory with “A Raisin in the Sun” and, later, the comic “Noises Off”.
What: “Henry V” When: 2 p.m. February 17 and 18, March 10, 18 and 24 and April 1; 7 p.m. March 18 and April 7; 7:30 p.m. April 5; 8 p.m. March 9, 10, 23 and 24, and April 6 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25, group and rush tickets available Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org
When one thinks of Eugene O’Neill, one thinks of wrenchingly serious plays, but “Ah, Wilderness” gives him a chance to explore the comparative innocence of a life he wished he could have lived. In the new production at A Noise Within, the play becomes a charming celebration of the nature of adolescence with characters recognizable over time and ethical distance in a way which makes the entire play approachable and embraceable.
In this warmhearted view of a middle class, small town family’s 4th of July in 1906, we follow 17-year-old idealist Richard Miller as he butts heads with his practical father, college-boy elder brother, overly nourishing mother, and the rest of his extended family. He yearns for the daughter of an overly straight-laced man, reads the Rubaiyat of Omar Khayyam, espouses socialism, and generally disrupts the calm of his family circle. In the ANW production, this comparatively lighthearted tale has been laced with popular music of the period – a move which instantly reinforces both the setting and the lighthearted nature of the thing.
Nicholas Hormann sets up the feel of the entire piece as Nat Miller, the easygoing patriarch of Richard’s family and publisher of the town newspaper. That very casual but upright “man of the world” quality sets the tone for the family and the entire play. Deborah Strang fusses and nurtures as Richard’s warm, worrying mother. Against these settled people’s maturity flails Matt Gall as the passionate Richard, whose journey into rebellion (and then back into the fold) becomes the focal point of the play. Gall gives Richard both the aura of conviction and the simplicity of lovesick youth in a combination which works well to tie all the pieces of this tale together.
Ian Littleworth, as Richard’s Yale-going elder brother, reflects the pompousness of the newly independent young man, while Katie Hume and Samuel Genghis Christian provide Richard’s younger siblings – the very observant, somewhat sardonic younger sister and the even younger littlest brother. Indeed, there is an aura of youth and innocence throughout this family circle, which balanced by the subtle struggles of the house’s other two occupants.
As Nat’s “old maid” sister, Lily, Kitty Swink finds a combination of determination and pathos, especially in Lily’s relationship with her former love interest, the flawed Sid, whose battle with addiction – though kept lighthearted in Alan Blumenfeld’s rendition – still provides a haunting connection to the darker side of small town life. Among a sizable cast, Emily Goss gives a youthful bravado to Richard’s clandestine love interest, while Emily Kosloski has a lovely time with the “fallen woman” Richard encounters while in defiant despair.
Director Steven Robman has given these folks a timbre and a pacing which keeps the story light on its feet. Scenic Designer Frederica Nascimento utilizes very mobile set pieces to create the swift changes needed to keep that pacing on target. Most of Garry D. Lennon’s costumes evoke era and class with an easy grace. It all works together to make a delightfully intelligent and largely uplifting whole.
“Ah, Wilderness” is not a rollicking comedy, but rather will evoke the laughter of recognition, and a chance to see a rare side of O’Neill: a balance to his more usual, far more grim works. For those who have never seen it, the ANW production will be a treat. For those who have, this production will confirm why it is worth seeing again. If only coming of age always involved this much charm. “Ah, Wilderness” plays in repertory with ANW productions of Shakespeare’s “King Lear” and the soon-to-open musical “Man of La Mancha”.
What: “Ah, Wilderness” When: through May 20, 7 p.m. March 19, April 9, and May 14; 7:30 p.m. April 20; 8 p.m. April 15 and 21, May 19 and 20; 2 p.m. matinees March 19, April 9 and 15, May 14 and 20 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: starting at $25 Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org
In an art form where longevity can be used by some to indicate intrinsic value, at least in the form of universality, none achieve this at a higher level than the plays of the Ancient Greeks. Certainly,Sophocles’ Oedipus trilogy has played upon the imagination of human societies far beyond the original parameters of the people for whom it was written. Usually, one discusses the angst, tragic flaws and fate of “Oedipus the King,” but in modern times – as in the time when Jean Anouilh first translated and adapted it – the greatest focus should be the ethical and moral dilemmas at the heart of the second play, “Antigone.”
Now in a new translation and further adaptation of the Anouilh version by director Robertson Dean, A Noise Within’s “Antigone” proves an admittedly truncated, elemental edition. Narrowed down to its essentials, the grand Greek speeches reworked to resonate with a modern audience, the power of the essential struggles of its protagonists leaps out in a way which makes ancient struggles modern.
The tale remains essentially the same, though – like Anouilh’s version – it is placed in an era reminiscent of the late 1930s (Anouilh was actually writing his version as the Germans entered Paris). Oedipus is gone, his sons have fought to the death over who should run Thebes. Oedipus’ brother-in-law Creon backed one of the brothers, Eteocles, over the rebellious Polynices, and as a result has taken over as king after both brothers die in battle. To declare the rebellion dead, he has decreed that nobody shall bury Polynices’ body so that it may rot in public as a warning to all further rebels. Should anyone bury the body, that person shall be condemned to death.
Which leaves their sister, Antigone, with an agonizing ethical choice. If she buries the body of her brother, she shall die. If she she leaves it there to disintegrate she shall have allowed something immoral to happen that she could have stopped. Which is more important, her life or her conscience. For Antigone this is no choice at all, but to those around her more versed in political expediency, the choices she wants to make are either idiotic or tragically pointless. Yet, she knows what she believes is the right thing to do.
This production jumps to vivid life due largely to Emily James’ impressively, passionately intense Antigone. Small, and physically fragile, James’ heroine is vibrantly resolute – absolutely positive she is taking the only action possible, and yet equally sure it is an action which should harm no other. Riveting from start to end, she is impossible not to watch.
Eric Curtis Johnson makes Creon the consummate politician, even in exhaustion seeing life as a negotiation and honor as relative, at least until it hits too close to home. Brick Patrick moves Creon’s son, Antigone’s fiancé, from a casual nobility to a resolute passion as his world increasingly wraps around the fate of his intended. Inger Tudor makes the chorus – a character Dean has given a much larger roll, in that she speaks the words of several characters other than her own – the voice of reason as she sets and expands the tale beyond the intimate palace space.
Smaller parts are also impressively done. Lorna Raver fusses well as the shaken nurse. As Antigone’s more elegant sister Ismene, Kyla Garcia becomes a balance to the title character’s determined single-mindedness, as she ranges from fear to compromise with little effect on the outcome. Stephen Weingartner plays the parts once handed to three separate guards – the realist of the piece – whose focus is not on the reason for war or the ethics of Antigone’s actions, but on how it will affect his future in his chosen occupation.
All of this plays against Frederica Nascimento’s junk pile of a set, complete with a radio whose blasts of Edith Piaf set the scene as much as the column bases and collapsed chandeliers. Jenny Foldenauer’s costuming captures a time period without being too specific, and Martin Carrillo’s sound design keeps the audience circled with the continuing danger outside the door.
This “Antigone” has been pared down enough to be performed without an intermission, and that works too as the tension builds toward the known but still agonizing end. As director, Dean keeps the thing moving, literally, which is terribly important in a play which is mostly about fine, direct, but potentially static talk. As a result, one seems to barely breathe from start to finish – a most satisfying way to see a great and ancient work made new.
“Antigone” plays in repertory with “A Flea in Her Ear” and the upcoming “All My Sons.”
What: “Antigone” When: Through November 20, 7 p.m. October 4, and November 8, 7:30 p.m. October 29 and November 19, 8 p.m. October 24, November 14 and 20, 2:00 p.m. October 4, 24, November 8 and 14 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $44 and up, with student rush with ID an hour before performance Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org
by Frances Baum Nicholson
One of the signature elements of the entire arts movement in 1920s Berlin is “The Threepenny Opera,” a reworking of John Gay’s 18th century “The Beggar’s Opera” by German greats Bertolt Brecht and Kurt Weill. Stark, unrealistic by design, and seated in an essential socialist view of a harshly capitalist society, its jazzy, sometimes atonal songs and scruffy collection of anti-heroes poke a finger at all the conventions of society, theater and popular storytelling.
Now at A Noise Within in Pasadena, “The Threepenny Opera” melds the essential concepts of Brechtian theatrical production with the theatrical traditions of ANW’s artistic, and production, co-directors Julia Rodriguez-Elliot and Geoff Elliott with significant success. There are still some issues to be resolved, particularly as they relate to sound, and it is possible that Brecht purists will be frustrated by ANW’s tradition of cartoonish/clownish additions, and a significant amount of editing, but as a piece of theater it stands up.
The tale is of Macheath, or Mack the Knife, who has married Polly, the daughter of the scruffy Peachums, who operate a business making money out of organizing the beggars of the city. Furious over the marriage, they try to turn Macheath in to the police, thwarted by the fact the Chief of Police is Macheath’s old army comrade Tiger Brown. Eventually Macheath is arrested, then set free by another of his women, then rearrested when he can’t stay away from his favorite brothel, and finally saved by a completely ridiculous deus-ex-machina underscoring the ridiculousness of happy endings (a Brecht hallmark).
Andrew Ableson is that very balance of soullessness and grimy good looks as Macheath. Marisa Duchowny sings particularly well, and has perhaps the funniest (if also the most scatological) moment as the deflowered Polly. Geoff Elliott and most particularly Deborah Strang make the Peachums impressively unlikable, and yet humorously dark. Jeremy Rabb gives Tiger that manipulatable quality so necessary to be a crime lord’s dupe, while Maegan McConnell, as Tiger’s daughter, and Stasha Surdyke, as Jenny Diver, the prostitute who was once Mack’s central lover, offer up memorable portraits of those carried away by, or done with Mack’s inability to control his desires.
Costumer Angela Balogh Calin has created costumes based on an essential, sometimes clownish miscellany, yet thrashed and dirty about the edges, with only Macheath briefly accorded a truly dapper look. Frederica Nascimento’s set – made heavily from bits of scaffolding and ladders – holds fairly true to the Brechtian ideal of minimalism and labels.
Indeed, the only problem (and it is essential) with this production as a piece of theater has to do with sound. The jazz band which accompanies the show is good, but in a space made mostly of concrete it is also loud. On several occasions it threatens to drown out the actors, whose mics are not all set at a strong enough level to overcome the music. Articulation is also a problem. For example, one can hear every word Strang sings, but many of the lyrics sung by the small chorus of ruffians, or by individual characters including Macheath himself, get lost as much due to diction as to being overwhelmed by music. This is a problem because the lyrics advance the storyline and enhance the characters. To not hear, and understand, them is to be lost in the plot.
Fortunately this is very solvable. That’s good because the rest of this is certainly impressive. One rarely gets to see a fully staged production of “The Threepenny Opera,” yet it has much to say about greed and inequity which is just as relevant as ever. For those to whom this matters, it is also impressively raw and fairly scatological, and is most definitely not a musical to bring younger children to.
“The Threepenny Opera” is the first of three productions which will play in repertory at ANW this spring. The next, “Figaro”, opens on March 7, followed at the end of the month by “Julius Caesar.”
What: “The Threepenny Opera” When: in repertory through May 17, 8 p.m. March 12, April 3, 11, 24 and 25, and May 9 and 16; 7 p.m. March 15 and May 3, 7:30 p.m. April 2 and 23, with 2 p.m. matinees on March 15, April 12 and 18, May 2, 9 and 17 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $40 general, $20 student rush. Group prices available. Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org