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Tag Archives: Jeremy Guskin
March 21, 2015Posted by on
Ever wondered where the expression “French Farce” got its start? Surely one would be the works of Beaumarchais, celebrating the fictional barber from Seville and French nobleman’s retainer, Figaro. Known to modern audience s more as the subject of comic operas by Mozart and by Rossini, the original plays were classic farce. Now, at A Noise Within, Charles Morey’s admittedly loose adaptation of Beaumarchais’ “Figaro” seems destined to be a solid hit. It’s just that funny.
The tale is familiar, but the rendition proves delightfully surprising anyway. Figaro, the valet to the Count, is about to marry Suzanne, the maid to the Countess and his true love. Suzanne clues him to the fact the Count’s gift of a bed and a room of their own, situated between that of the Count and the Countess, is a matter of convenience but not for Figaro and his bride. The Count is determined to have Figaro’s bride as well – and Figaro is furious.
Suzanne points out that the Countess is still in love, even if her husband is not, and a plot begins to form. Meanwhile the older housekeeper, Marceline, lusts after Figaro, family physician Dr. Bartholo loathes him, and gardener Antonio’s daughter, Fanchette, falls for the silly romantic boy Cherubin. If this sounds like a collection of circular stories, you’re right. But just wait.
In the hands of director Michael Michetti, the enterprise becomes a delightful romp. Though Jeanine A. Ringer’s multi-doored set has some functional issues, there is still the appropriately silly manner of comings and goings, hidden listeners and mistaken agendas. Switched identities lead to laughter, and the net result is suitable and usually happy endings. Still, it is the romp one remembers.
Much of the pacing and an equal percentage of the hilarity comes thanks to Jeremy Guskin’s Figaro. His arch approach to the character, his sly asides to the audience, and his sheer comedic physicality all work together to set the tone and the pace for the rest of the production. Indeed, this wry Figaro proves almost contemporary in his humor, perhaps because adaptor Morey readily admits “freely adapting” the older tale to meet tastes of a modern sensibility, and possibly because Guskin is just that funny.
Angela Sauer’s Suzanne provides a most suitable foil for this Figaro – strong, sardonic, and wise. Andrew Ross Wynn makes the Count a pompous grotesque, which aides the comedy, and Elyse Mirto’s sexually frustrated Countess makes a manipulatable foil for Suzanne. Jeanne Sakata vibrates with frustrated passion as Marceline, while Alan Blumenfeld makes a stuffy and distanced Dr. Bartholo. Will Bradley has a ball as the overly romantic Cherubin, while Natalie De Luna makes a seriously innocent Fanchette. Still, it seems the one performer having the most fun has to be Joshua Wolf Coleman, who becomes the simple Antonio, the pompous music master Bazile, and a toadying, speech-impaired judge, by turns.
The pacing, thanks to Michetti, stays lively, the jokes fresh, and the humor impressively current. Let’s face it – some things are just universally funny, and this production, given this sense of physical comedy combined with a classic, farcical set of situations, fits the bill to perfection. “Figaro” is only one of three shows which will play in repertory through this spring at ANW. It follows the spare “Threepenny Opera,” opened recently, and will be joined at the end of the month by a new version of Shakespeare’s “Julius Caesar.” Meaning this is the one to come and laugh at, and with. So do it. You’ll feel better by the end.
What: “Figaro” When: 8 p.m. March 14, April 4, 10, and May 1; 7:30 p.m. April 9 and 30; 7 p.m. April 19 and May 10; 2 p.m. March 14, April 4 and 19, and May 10; 4 p.m. April 5 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $40 general, $20 student rush Info: (626) 356-3100 ext 1 or http://www.anoisewithin.org
August 13, 2014Posted by on
As example, the production of “6 Rms Riv Vu”, Bob Randall’s Tony-winning play from 1972. Now in a fine production at Sierra Madre Playhouse, it looks back at the people whose lives overlapped the societal mores of two distinct periods, who are thus forced to find balance in the midst of very mixed messages. As ethical values continue to shift today, it offers a chance to stop and think.
The play – most definitely a comedy – centers on two people, Anne Miller and Paul Friedman, who find themselves locked in a rent-controlled New York apartment they’ve both been sent by spouses to check out and possibly rent. As time passes, they begin to share vulnerabilities: their sense of incompleteness in their married lives, their sense of disquiet at their own lack of adventure, and fairly soon their mutual attraction.
What makes the play worth watching is what they do with the information they glean, as played out by a somewhat young, but interesting cast. Jeremy Guskin feels natural as Paul: a bit geeky, a bit henpecked, a bit startled by his own bravado. Lena Bouton brings to Anne that settled housewife aura, but with the undercurrent of resistance to patronization and frustration at her own “goodness” showing through.
Lynndi Scott all but steals the show as the obtuse lady across the hall. Bob Rodriguez gives the perfect “operating on autopilot” maintenance man – the instigator of the leads getting stuck in the first place. In cameo roles, Kristin Towers-Rowles vibrates with energy as Paul’s feminist wife, Craig EcEldowney hums with paternalistic attitude as Anne’s businessman husband, and Jull Maglione and Albert Garnica provide the play’s bookends as an expectant couple also checking out the apartment.
Director Sherri Lofton gives the play a relaxed, yet intense pacing and enough movement to keep an essentially two-person piece from devolving into a static debate. John Vertrees’ set design makes the small SMP stage look like a reasonably-sized apartment, which is quite a feat. The costuming by Naila Aladdin Sanders pretty much nails the polyester double-knit look of the era. The authenticity greatly enhances the experience.
As a result, “6 Rms Riv Vu” has much to recommend it: it’s funny, well acted, well produced, and has something quite specific to say, which is still worth listening to. It’s also funny in the way of the best comedies of that era: jokes at just the time when the tale would otherwise become painful, yet still making a “truth” available under the laughter.
This is the start of a new era for the Sierra Madre Playhouse, as they embrace a new board and a new artistic director. The focus is obviously quality, and the shaking off of the “community theater” label. So far, so good
What: “6 Rms Riv Vu” When: Through September 6, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: (standard pricing) $25 general, $22 seniors, $15 children 12 and under (NOTE: general and senior tickets purchased in July for any performance between now and the end of the run will be on a special: $19.72 – the date of the play) Info: (626) 355-4318 or http://www.sierramadreplayhouse.org