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At A Noise Within in Pasadena what seems to win out is character study. Perhaps this is because the four-person cast contains the strongest performers in the ANW membership stable. Co-Artistic Director Geoff Elliott has given these performers space to create far more rounded and interesting characters than on some occasions, and there are haunting moments in the production worthy of special note. If only there wasn’t an over-literal tacked on ending to annoy a Williams aficionado at the play’s close.
Deborah Strang makes comparatively (and interestingly) subtle work of the unsubtle Amanda, a faded Southern belle whose desperate hold the youth she enjoyed before marrying the wrong man has poisoned any possible connection with her only son. As that son, Tom, Rafael Goldstein radiates with resentment, thwarted ambition, and an edgy empathy for his disabled sister.
Erika Soto makes Laura, the sister, more complex than is often seen. The touchingly memorable moment – shared, thanks to a particularly apt bit of direction, with the audience – when she looks in a mirror and can actually see herself as beautiful for a moment will stick with the observer long after the play ends. Likewise Kasey Mahaffy as Jim, the “gentleman caller,” gives a nervous edge to the part which intimates a connection that just almost comes off. It makes the pain and the depth of their scenes worth the entire production.
Fred Kinney’s scenic design is clever, but the adaptability it has to have is mostly due to the one weird twist in the direction at play’s end. This is a memory play. Memory plays have to stop where the memories end. The fact that Laura’s memory will not leave Tom alone, and the underlying question mark about the people/lives he left behind is the lingering fog which gives the play some of its power. Here, that question is answered, nullifying Williams’ point.
Why Elliott chose to do this – answering a question which is aways left for the audience to surmise – is an abject mystery. Frankly, it seems a sign of distrust, either in his audience or in his performer, or (even worse) Williams himself. In any case, it proves moderately insulting, and fudges what is otherwise a fine, fine production of an American classic.
Still, given everything which leads up to that moment, this version of “Glass Menagerie” is worth taking a look, my sincere, rueful “if only” qualifier to the ending notwithstanding.
“The Glass Menagerie” plays in repertory with Shakespeare’s “Othello” and Mary Zimmerman’s “Argonautika”.
What: “The Glass Menagerie” When: through April 26, 2 p.m. and 8 p.m. March 30, 2 p.m. April 20, 7 p.m. April 14, 7:30 p.m. April 4 and 25, 8 p.m. April 5, 20 and 26 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25, Student Rush with ID one hour before performance $20, On April 14 all remaining tickets $25 (available online with the code SUNDAYRUSH) or at box office Info: http://www.anoisewithin.org or (626) 356-3121
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
Any time someone translates a novel to the stage, there is risk involved. The depth of interior monologue, the detail of setting and character, the convolutions of plot and emotion, even the poetry of language used to provide all of this, are all limited by the confines of the stage and the time frame expected of a standard play.
Never is this more true than when dramatizing the works of Charles Dickens. A man who loved theater, his works are in many ways quite theatrical, but they are also often intricate, interior and long. One either carves much of the detailed verbiage away, as has been done several ways for, say, “Oliver Twist,” or one extends the play into two parts, as the Royal Shakespeare Company did for “Nicholas Nickleby”. Michael Poulton’s adaptation of “A Tale of Two Cities” now open at A Noise Within in Pasadena chooses the former, but in the process creates a focus on the meat of Dickens’ story: that of the dangers of both oligarchy and chaos.
For those who did not read the novel in high school (or after) the play follows the fortunes of Charles Darnay, a French aristocrat who renounces his noble family for a life of work in Britain just as the French Revolution sparks. In Britain he must fight accusations of being a spy, and in the process becomes close to three people who will define his life.
One is Dr. Manette, long a prisoner in the Bastille, whom he assists in traveling safely from France to England. Another is Manette’s daughter Lucie, whom Darnay marries. The third is the profligate Sydney Carton, his virtual look-alike, whose friendship with Darnay, and wistful love for Lucie provide lifelines for a man who, though young, sees himself as already worthless and beyond redemption. Then Darnay’s servant begs him to return to revolutionary France at the height of the Reign of Terror to save his life.
As adapted by Poulton, this becomes both a character study, and an examination of the explosion and vengeance resulting from an oligarchy pushing inequality too far. As a result, it avoids the more Victorian villainization of the rebels, turns the story to focus on personal struggles and definitions of justice, and manages to ennoble the wayward Carton without whitewashing his behaviors or his depression. As directed by Julia Rodriguez-Elliott and Geoff Elliott, this episodic and complex tale is given a sense of seamlessness which allows the main themes to rise.
Tavis Doucette makes an earnest and straightforward Darnay. Emily Goss provides a sense of innocence, bravery and devotion as Lucie, while Nicholas Hormann delivers a calm practicality as her father Dr. Manette. Also important is Michael Stone Forrest, who gives the English banker Mr. Lorry a sense of presence and a force of personality which ties together much of the most tense period in the storyline. Trisha Miller, as Lucie’s devoted governess, radiates the strength and indignation of the British servant class. Abby Craden make the villain, Madame Defarge, most convincing, but in a way which underscores this French peasant’s reasons for her searing hatred of Darnay’s family.
Still, the center of the tale in this rendition is Frederick Stuart’s Sydney Carton. Stuart makes Carton’s dissolution more a symptom of depression and oppression by opportunistic employers than simply a sin in and of itself. The other characters’ sympathy for him proves more justifiable, and his willingness to lean toward nobility and sacrifice far more logical. It’s a powerful performance.
Also integral to the production’s success are Jenny Foldenauer’s costumes which, with the exception of a couple of barrister wigs, proves authentic and unexaggerated. Fred Kinney’s modular set pieces, coupled with Kristin Campbell’s projections create drama out of crates and partitions in very effective ways, allowing swift changes of scene in the process. Robert Oriol’s original songs bring the emotional backdrop of the era’s tensions.
“A Tale of Two Cities”, as a story, is a classic in every sense of the word. At ANW it is done justice in many ways. Though some purists may miss a concentration on the inner monologues which make Dickensian characters so interesting and yet so hard to portray, this version when performed this well proves that a tale of upheaval and ethics plays well to a modern audience. Indeed, given the current state of the world, a discussion of oppression, revenge, and ethical choices takes on greater significance.
What: “A Tale of Two Cities” When: through November 19, 7 p.m. October 29, and November 19, 7:30 p.m. October 19 and November 9, 8 p.m. September 29 and 30, November 4 and 10, with 2 p.m. matinees September 30, October 29, November 4 and 19 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25 Info: (626) 356-3100 or http://www.anoisewithin.org
When one first hears that A Noise Within has reset the powerful 1960s musical “Man of La Mancha” in a modern prison in the developing world, it can make one nervous. After all, it is based not only on one of the great works of international literature, but a historical figure who actually did end up imprisoned by the Inquisition for a segment of time. How can one take the piece out of its historical context? Yet, it is one of the hallmarks of a theatrical work that it can stand up to being reset, both in time and location. The new physical trappings of the tale can inform a wider understanding of the impact of the piece, even if the actual language stays the same.
As a consistent modern interpreter of Shakespeare, ANW co-Artistic Director Julia Rodriguez-Elliott knows this. Indeed, a work like “Julius Caesar,” about ancient Roman politics, has been reset by various great companies in Mussolini’s Italy, in JFK’s America, or even in a dystopian future without losing its integrity. So, her decision that “La Mancha” can handle the same treatment seems particularly apt.
What may be less wise on Rodriguez-Elliott’s part arises from the demands of this particular work. As musical director Dr. Melissa Sky-Eagle states up front, “Despite the folk-inspired nature of the music itself, the voices required [in “Man of La Mancha”] need to be almost operatic in nature.” While many of the performers – a number of them new to ANW – are very much up to this demand, some of ANW’s stock players are not, really. This creates an imbalance which sometimes distracts from not only the original message of the show, but the additional intent of this new staging.
The story is, of course, a story-within-a-story. Don Miguel de Cervantes, the poet, playwright and novelist seen by many as the Spanish equivalent (at least in literary impact) to William Shakespeare, has been thrown into prison by the Inquisition while awaiting trial. There he must defend himself against the other prisoners, who are out to steal what goods he has. He does so by enacting for them the tale he carries in a manuscript – the manuscript for his finest work, “Don Quixote de La Mancha.” Interrupted on occasion by the guards, he pulls his hearers into his story, both literally – to create the needed characters – and figuratively, as they come to appreciate his view of the world.
For those who know more traditional productions of this work, there are a few things missing. For one, there is no dancing and thus no faux horse and mule. Rather, Don Quixote and Sancho ride mops as if they were hobby horses. The props are less things that Cervantes has brought with him, and more found objects from the prison itself. And that transformative moment when Cervantes becomes Quixote is dulled a bit, in that this Cervantes already has so much facial hair there is little need to add much.
Still, the grime of the prison, the seediness of the inn, and the grim lives of those Quixote encounters are still very much in evidence, and the music – particularly at certain moments – proves as wrenching and powerful as ever. But there is inconsistency in this. Geoff Elliott is Cervantes/Quixote, and his speaking voice has the force and grandeur needed, but this character must be able to sing in a commanding and heartfelt way that Elliott really cannot master. His breathing is often labored, his vocal tone goes chesty, and some of the important lyrics – and the lyrics are particularly important throughout this show – become comparatively unintelligible.
On the other hand, Kasey Mahaffy’s Sancho can sing in a bright and tinny way, and it works, in part because it emphasizes the character’s simple, practical approach to the world. Indeed, one of the few cuts one truly regrets is the shortening of Sancho’s last song, which takes away some of its humor – a humor Mahaffy emphasizes to good effect throughout. Cynthia Marty, as both the nervous housekeeper Quixote has left behind and the annoyed wife of the innkeeper, creates two solidly interesting characters, matched by Gabriel Zenone’s fatalistic innkeeper.
Michael Uribes creates two strong characters, as the reputed leader of the prisoners, and as the pseudo-intellectual fiancé of Quixote’s niece, more worried about what he will inherit than about the man he will inherit from. Cassie Simone sings beautifully as the Quixote’s deeply embarrassed niece. ANW regular Jeremy Rabb has a somewhat less successful time as the gentle padre, who must offer tender songs in a rich tenor voice that Rabb has to work to reach.
By far the finest performance of this production is Cassandra Marie Murphy’s passionate, bitter Aldonza, creating in her portrayal that combination of despair and curiosity which makes Aldonza so interesting, and singing those deep, powerful, angst-ridden songs with a fire you cannot look away from.
Kudos to ANW for using a live orchestra, and one which uses the original orchestration (no strings except a bass and guitars) which gives the enterprise such a direct, and folk-Spanish feel. Fred Kinney’s scenic design gives a sense of space and enclosure – the dual demands of such a dual tale. Angela Balogh Calen’s costumes are largely supposed to look frayed and dirty (as well as reflecting a non-specific prison garb) and all of this comes off well. Lighting is key in this story, and Ken Booth’s design helps carry the story forward in very specific ways, as do Erin Walley’s “found object” props – essential in this prop-heavy show.
In the end, with the new underscore of continuing spaces of despairing imprisonment and horror in our world, the main sentiments of “Man of La Mancha” come through: hope may seem madness, but can lift up those who choose it. And that is just as apt today as it was for the original creators of the musical, or Cervantes himself. It could have been more even in presentation, but it is definitely there.
“Man of La Mancha” plays in repertory with “King Lear” and “Ah, Wilderness”.
What: “Man of La Mancha” When: through May 21; 7 p.m. April 16 and 30, May 21; 7:30 p.m. April 6; 8 p.m. April 7, May 6, 12 and 13; 2 p.m. matinees April 16, 22 and 30, May 7, 13 and 21 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25 Info: (626) 356-3100 or http://www.anoisewithin.org
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
For some theatrical companies, versions of the Charles Dickens classic “A Christmas Carol” have become an annual staple. One such theater is A Noise Within, in Pasadena. When they first moved from Glendale to this, their permanent home, I went to see what they’d done with the time-honored story, and was generally pleased even though there was a most odd and somewhat deflating costuming choice at the end which truly got in the way. Now, four years later, I decided it was probably time to take another look.
When evaluating what spectacle may be added to this tale, one must always remember that Dickens, and many after him up to and including Patrick Stewart, have made theater by simply reading the thing aloud onstage. It is that powerful all on its own. What theatricality one adds must never get in the way of the story itself, and – at least in my book – retain the innate spookiness of the thing which makes Scrooge’s fear real and his conversion more understandable.
A Noise Within’s co-artistic directors, Geoff Elliott and Julia Rodriguez-Elliott, who also co-direct this production, have honored this concept most of the time. There are still signature dollops of ensemble in anachronistic diaphanous fluff and bowler hats, but they are mostly enhancing the scary or dreamlike bits. Thus, in Elliott’s adaptation, the original author is treated as star of the piece.
Freddy Douglas acts as narrator, in contemporary dress, reading Dickens’ evocative descriptions and setting up each scene. Geoff Elliott gives Scrooge the appropriate crustiness and self-absorption, and makes his gradual softening seem more organic to his own history. Eric Curtis Johnson creates a gentle, bookish Cratchit, which balances well against Elliott’s character.
The ensemble accompanying these central figures gives each of a wide variety of characters individuality and interest, powering the story along.
Among the characters they create, Jill Hill gives Mrs. Cratchit a lovely balance of humanity and authority, creating a sense of unity and family. Indeed. Savannah Gilmore, Jack Elliott, Samuel Genghis Christian and Rigel Blue Pierce-English work well together to create a happy, if impoverished Cratchit household, joined by Eli Stuart’s genuinely charming Tiny Tim. Rafael Goldstein gives Scrooge’s nephew Fred a gentle nature and radiant optimism, Alison Elliott gives a quiet bitterness to Scooge’s fiancé, Belle, and Jeremy Rabb creates an almost ferociously sad aspect as Marley’s ghost.
As for the beneficial visiting ghosts, Deborah Strang’s otherworldly sprite works well as the Ghost of Christmas Past, emphasizing the warmth of Scrooge’s younger self. Stephen Weingartner’s huge and rather odd-looking Ghost of Christmas Present still embodies the essence of Dickens’ cheerful view of the holiday, and the underpinnings of deprivation which need to be addressed.
In a most exciting change from my previous experience of ANW’s version of this classic, the unnamed Ghost of Christmas Yet to Come offers up a far more Dickensian, darkly hooded, spooky, silent figure which, when combined with an impressive headstone, cements Scrooge’s rising terror at what might become of him. Jeanine A. Ringer’s mobile set and prop pieces help the necessarily episodic tale flow as a single piece, as the story itself does.
In short, the A Noise Within production of “A Christmas Carol” offers a genuine treat, and stays generally true to the Dickensian. Stay after the show for a chance of photographs with the major characters.
What: “A Christmas Carol” When: through December 23, 8 p.m. Fridays and Saturdays, 7 p.m. Sundays, 7:30 p.m. Wednesday and Thursday December 21 and 22, 2 p.m. Saturdays and Sundays Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25, with student and Sunday rush tickets available for certain performances Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org
When I first saw Tom Stoppard’s “Arcadia” at the Mark Taper Forum many years ago, I was stunned at its power, and said so in print. I was startled at the mixed reaction I got to that review from people who had seen the show as well, and who usually had the interest in arts that I did. The same thing happened the next time I reviewed a Stoppard play. Thus, let me say from the start that Stoppard’s work is for those who enjoy mental and emotional rigor, and “Arcadia,” now enjoying a finely polished production at A Noise Within, is no exception. If you don’t want to do that kind of work while sitting in an audience, you may find it disappointing.
If you do, you will find this production, and this work, an absolute treasure. As the play explores the meaning of truth, and of genius, it raises questions about everything from morality, to the universe, to the nature and purpose of science and of scholarship. It does so with feet firmly in two very different time periods at once, peopled with characters ranging from fascinating to ridiculous to endearing, and in language which is the kind of spoken poetry great playwrights use.
The story revolves around a single English country estate, seen both in the early 19th Century and present day. There, in a sunny formal room, a historian’s modern research into the evolution of the formal gardens is interrupted by a pop-academician interested in gaining enough information to achieve quick fame. The current residents of the house, descended from those in the past period, include those who echo the skills, temperaments and occasional genius of their antique forebears.
Alternating with these scenes, one is introduced to those forebears, and to the actual events, personalities and talents which the moderns are trying to parse from the few remaining bits of documentary evidence. By the end, in a moment reminiscent of Einstein’s contention that “the distinction between past, present and future is a stubbornly persistent illusion”, both time periods are running in the same room at the same time, moving forward as inexorably as a mathematical formula.
Foundational to this tale is the interaction between the 19th Century tutor at this estate, and the brilliant daughter he is there to teach. Rafael Goldstein as Septimus, the tutor and a former school friend of Lord Byron, balances the man’s scholarly intellect and articulate sensuality in ways which provide much of the glue for the rest of the antique tale. As his student, Thomasina, whom we first see at age 13 and later just before her 18th birthday, Erika Soto vibrates with curiosity and an innate wisdom, and her character’s passionate interest in what mathematics can tell one about the universe.
Balanced against these antique figures are Susan Angelo as the controlled and scholarly Hannah, a researcher looking for answers to a series of mysteries about the house and gardens as a follow-up to a recently published book. Her arguments for proof and scholarship even as she has her own suppositions gains legs when Bernard, given a slightly over-the-top egoism by Freddy Douglas, appears to scoop up what he can in a hurry and write a lecture he hopes will gain him a moment of limelight.
In between them is Valentine, played with a kind of internal fire by Tavis Doucette. The eldest son of the owners of the house, he has been culling old household accounts for information to fit into computerized equations for a study foundational to his graduate degree, and the vagaries and gut instincts of historical research are “noise” to his view of facts. Jill Renner is there as his rather vapid sister Chloe, while Richy Storrs does double-duty not only as their non-speaking but musically talented brother, and as Thomasina’s egotistical sibling as well.
Abby Craden, as the rather officious and flirtatious Lady Croom, commands the more antique household, joined sometimes by Stephen Weingartner as her pompous military brother. Eric Curtis Johnson handles the duality of a highly regarded professional landscape architect who is still essentially Lady Croom’s servant, while Mitchell Edmonds performs the duties of the patient butler with style. As one of the most humorous characters in the enterprise, Jeremy Rabb’s nervously ambitious yet ostensibly awful poet gives face to a man totally misunderstood by those researching him roughly 200 years on.
Under the comparatively understated direction of Geoff Elliott the piece has a flow and a subtle choreography which allow the necessarily episodic nature of the thing to feel a sense of unity. Leah Piehl’s accurate costuming for the period portion, and inaccurate pieces for use in the modern dress-up segment, show subtle character notes, and underscore some of the play’s points. Frederica Nascimento’s gorgeously understated Georgian hall allows for light to become its own character, while Robert Oriol’s sound design underscores the explosive nature of the playwright’s words.
In short, this production of “Arcadia” fills the eyes and the mind. Likable, or even humorously unlikable characters carry one through a dizzying array of conversations one may need to take a while to chew over afterward. Yet, that work is worth it. The richness continues to unfold. The play will be performed in rotating repertory with Jean Genet’s “The Maids” and Moliere’s “The Imaginary Invalid”, all marking the 25th season of ANW.
What: “Arcadia” When: In rotating repertory through November 20, 8 p.m. September 30, October 1, November 5, 8 and 11; 7:30 p.m. October 20 and November 10; 7 p.m. October 30 and November 20; with 2 p.m. matinees October 1 and 30, and November 5 and 20 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $44 general, student rush with ID $20 an hour before the performance Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org
When a play becomes a classic, the underlying message is timelessness. Somehow, the work has created characters which transcend their own age, and delivers a message with an innate universality. Most certainly this is true of the best works of Arthur Miller, often termed America’s premiere playwright. As if one needed proof, the solid rendition of his breakthrough work “All My Sons” at A Noise Within in Pasadena offers up that particular balance of the timely and the timeless, with a moral struggle as true today as it was in the years after World War II.
The story wrestles with profiteering during that war, but it provides a window on modern wrestles between the corporation and the idealist, and between morality and mammon. As many know, it centers on a small, midwestern town and the two families at the center of its greatest controversy. During the war, the company owned by Joe Keller and his partner and neighbor Steve Deever made cylinder heads for aircraft. One day some came out cracked, but this was disguised and the cylinder heads were delivered anyway, leading to the deaths of 21 pilots. Both men went to jail for the coverup, but Keller has since been released on appeal. Deever is still in prison.
Now, in the post-war era, Keller’s younger son Chris, a former army officer who lived through heated battles, helps run the business. He wants to become engaged to Deever’s daughter, Ann, though his mother Kate insists that this is impossible. Ann was Chris’ elder brother’s girl before the war, and though he and his plane went missing, Kate insists he’s going to return. Between Kate’s fervent belief, Chris’ intense belief that the only way his war experience can mean anything is if the world is better for what he and his men went through, and the hovering suspicions of Joe’s complicity in those pilot’s deaths, tension hovers ever near. Then news arrives which brings the tensions between truth and hope, between practical capitalism and idealism into sharp and painful focus.
Director Geoff Elliott has made a few interesting choices in this production. Though the costumes (Leah Piehl) and setting place this very firmly in the 1947 in which it was first performed, the casting – far more diverse than a midwestern neighborhood of that era would have seen – seeks for universality. Also, the director has cast himself as Joe Keller, the focal point of much of the play’s drama. This is a bit disappointing, as an independent eye would have challenged him – as has been true in some other fairly recent ANW productions – to do his most creative interior work. Here he sometimes reverts to what one can recognize as a more formulaic approach for his own part.
The same is not true for the rest of the cast, however, all of whom prove strong and compelling. Rafael Goldstein steps into Chris’ passion and belief system as if it was made for him. The events which begin to rock Chris’ understandings seem to hit on a visceral level, making the character rounded and deeply believable. Maegan McConnell gives Ann the balance of trust and nerve and direction, and the chemistry between her and Goldstein center the conundrums of this young couple’s desire to move forward. Most profoundly, Deborah Strang’s aching, obsessive Kate has a naturalness about her maternalism which anchors the entire proceeding.
Also worthy of considerable note are Aaron Blakely, briefly but intensely present as Ann’s furious brother almost wooed back into the neighborhood fold, E.K. Dagenfield and Natalie Reiko as a young couple unusually untouched by the chaos of war which surrounded most of their contemporaries, and Vega Pierce-English as the neighbor boy urged to virtuousness by the the comparatively questionable Joe. Perhaps most captivating is the underscore to the entire debate over money’s role in both happiness and morality exemplified by Jeremy Rabb’s country doctor dreaming of a life in research and June Carryl as his wife, insistent he live out his promise of financial security instead.
There is a reason students still study “All My Sons,” as its ethical dilemma seems as fresh today as ever. Joe’s insistence that money and leaving something for his son to inherit trumps anything else, contrasted to his son’s insistence on seeing the world beyond the factory door – that age-old battle between the market and humanity – could be reset in any time frame from the Civil War to this year’s presidential campaign. The art of Miller is to bring it down to the extremely personal, to people you believe you know. That, and the solidly interesting performances from most of the cast, make this definitely worth watching.
“All My Sons” is part of ANW’s three-play fall repertory season, alternating with “A Flea in Her Ear” and “Antigone”.
What: “All My Sons” When: Through November 21, 7 p.m. October 25 and November 15, 7:30 p.m. November 5, 8 p.m. October 30, November 6 and 21, 2 p.m. matinee October 25 and 30, November 15 and 21 Where: A Noise Within, 3352 E. Foothill Blvd in Pasadena How Much: from $44, $20 student rush Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org
Now, in a comparatively new translation by David Ives, one of Feydeau’s best and most well known farces has arrived at A Noise Within in Pasadena. “A Flea in Her Ear” has all the great elements: cases of mistaken identity, whispers of infidelity, elaborate plots which go awry, and impressively physical comedy. Under the direction of co-artistic director Julia Rodriguez-Elliott, and now set not in the 19th Century France Feydeau knew, but rather the 1950s, all of this comes together in one massive, brisk, howlingly funny whole.
The plot, such as it is, surrounds the household of the distinguished insurance executive Victor Emmanuel Chandebise. Based on changes in his passion for her, his wife, Raymonde, is convinced he is being unfaithful. To confirm this, she and her best friend Lucienne, a woman married to a Spanish diplomat, decide to set a trap for Victor at a notorious “hotel” used mostly for rendezvous. What the two women do not know is that both Victor’s nephew Camille and his business partner Romain are very familiar with this establishment. In short order, chaos ensues.
In the dual, and exhausting, role of Chandebise and the hotel’s porter, Geoff Elliott creates two completely separate physicalities – a trick which only enhances the comic effect. Elyse Mirto, as Raymonde, creates a woman of comparative honor caught in events which, even if of her own making, shock her with a lack of control. Jill Hill’s Lucienne makes a great foil for her, and Luis Fernandez-Gil offers up the perfectly stereotypical outraged Spanish nobleman as Lucienne’s jealous husband.
Also worthy of note are Joshua Wolf Coleman as the practical family doctor, Jonathan Bray as the amorous Romain, and Jeremy Rabb as the former military man who runs the questionable hotel. Still, of all the performances, none matches both the silliness and the delivery of Rafael Goldstein’s Camille – a man whose undeveloped soft palate has left him unable to use consonants without a prosthesis which becomes its own comic focus.
“A Flea in Her Ear” is not profound, though there are messages within. Rather, it is a particularly find example of the sheer joy of well produced farce. The audience laughter proves constant and hearty. Rodriguez-Elliott knows how to make full use of the ANW stage space, and the results are satisfyingly energetic and nonstop. Fred Kinny’s comically unrealistic set, with its many doors, works perfectly with this equally ridiculous, but delicious silliness.
In short, ANW’s “A Flea in Her Ear” is a true must-see. It plays in repertory with the upcoming productions of Anouilh’s “Antigone” and Miller’s “All My Sons”.
What: “A Flea in Her Ear” When: through November 22; 8 p.m. October 2, 3, and 23, and November 7 and 13; 7 p.m. November 1 and 22, 7:30 p.m. October 22, and November 12; 2 p.m. October 3, November 1, 7 and 22 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $44, $20 student rush with ID Info: (626) 356-3100 ex. 1 or http://www.anoisewithin.org