Reviewing Theatre For Over 40 Years
Tag Archives: Lisa Peterson
The Pulitzer Prize for drama is given, when it is given, for a piece of theater which reflects something elemental to understanding an aspect of American culture. Rarely has that seemed a more apt designation than the 2017 prize handed to playwright Lynn Nottage for “Sweat.” A portrait of the disintegration of the traditional manufacturing towns of the midwest, it answers for the uninitiate multiple questions about the elements of malaise which have infected that part of the country, from amplified racism to opioid abuse. That it does so without preaching or reaching for easy answers, and with considerable humor, makes “Sweat” a gift to watch.
The play is set in Reading, Pennsylvania, where the struggles between union and management have led to at least one long-extended walkout, and – at another factory – tensions are simmering regarding the future of an industry which has generationally been a definition of life in the town. At the neighborhood bar, where both the longtime connections and current tensions are liberally amplified by alcohol, a picture of a town wrestling with coming to terms with crisis, looking for escape, and searching for someone to blame are narrowed down to a few shop-floor friends.
The powerfully ensemble cast ably peels gradual layers off their characters to illustrate the dissolving of veneer caused by the ripped expectations and sense of powerlessness the sea change in their community brings. Mary Mara, Portia, and Amy Pietz center the play as the three factory-floor friends whose unified sense of identity is tested and torn by issues of addiction, race, and ambition as the union-corporation conflict grows. As the sons inheriting the disaster, Grantham Coleman and Will Hochman create young men whose actions frame the storyline and thread the rest of the play together.
Michael O’Keefe, as the injured factory worker now tending bar, provides a link to the working man’s heritage. John Earl Jelks offers up the increasing degradation of a people too proud of that heritage to accept its lessening impact. Peter Mendoza creates the outsider character whose choices underscore what the others have lost, bringing out the casually ugly side of this insular community. Kevin T. Carroll, as a probation officer, becomes the occasional guide through the tragedies to come.
Director Lisa Peterson has created a pacing and a visual presence for the play which underscores the disconnect between the world of the characters and the world outside. Using Yee Eun Nam’s excellent projections and Paul James Prendergast’s evocative sound design and original music, drama happens on Christopher Barreca’s remarkably evocative set even when the characters aren’t onstage. The pacing is clean, seamless and keeps the tension building as it should, even as it makes room for the necessary and very human moments of humor which make these people real. Emilio Sosa’s costumes absolutely define character differences, sending messages in visual shorthand.
Still the best of this is that all the above operate in service of a truly important play. What one can hope is that many who see “Sweat” will finally have that “aha moment” when they begin to understand – not embrace necessarily, but understand – in a more visceral way the terrible boiling pot of racial tensions, abandonment sentiments, and destroyed expectations which have led to some of the ugliest current scenes in our country. There are no solutions offered up here, as that would be too easy, but the final scene does offer some hope if people can come back to their better selves. One can only hope that some do.
What: “Sweat”. When: through October 7, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays (no 1 p.m. performance Sept 30) Where: The Mark Taper Forum, 135 N. Grand Ave. in downtown Los Angeles. How Much: $30 – $99 Info: (213) 628-2772 or www.CenterTheatreGroup.org
Author Sandra Tsing Loh has made her name speaking to things many women wrestle with as they grow up and grow older, often with a wry humor which takes the edge off her topics’ occasional edginess. Best known to most Los Angelinos for her quick “The Loh Life” spots on KPCC, Loh has a a larger radio presence nationally, and has published popular books, including the celebrated memoir “The Madwoman in the Volvo: My Year of Raging Hormones.”
Now she has turned that book into a play, just opened at the Pasadena Playhouse. From a trip to the desert and Burning Man, through marital upheavals and the re-sorting of her entire life, the play – a combination of narration and caricature – walks us through the hot flashes, sudden passion shifts and travails of Loh’s entrance into menopause. Often funny, the show also cuts close to the bone, detailing her mother’s retreat into depression, and her own struggles with the emotional wrenches hormonal changes and life changes can bring with them.
The results are mixed. The editing necessary to turn a full-blown memoir into a 90 minute play with no intermission means the tone shifts, particularly at the end, can be jarring. Not the storyline itself, though it is frantically episodic, but the actual tone of the narration – that moment when wry wit won’t do, and yet shift to seriousness meets with resistance. In the end, one can celebrate the performances, which are intense and compelling, but still wish for a bit more work on the script itself.
Joining Loh, who shifts constantly from narrator to participant in her own tale, are Caroline Aaron and Shannon Holt, who play absolutely everyone else important to the story line, from gal pals on an adventure, to boyfriends, therapists, and all the other personalities which give this construction its most compelling moments. The sheer versatility of the two, who create individual character after individual character, becomes the focal joy of this production.
Director Lisa Peterson keeps the tale moving, and pacing is key in anything this episodic. Rachel Hauck’s geometric, open set design allows the “setting” to become anything needed, from a coffee house to an RV, simply by dint of audience imagination – another great aid to the pacing and flow of the piece. Indeed all the pieces are there, production-wise.
Yet, that ending still needs work. Yes, the arch tone of the beginning morphs into the seriousness of depression, and there are some issues with that shift, but perhaps most jarring is the almost tacked on upbeat close. Genuine though all its parts are, the final polish still isn’t quite complete. Still, there is much to recommend “The Madwoman in the Volvo” (the term comes from the moment she pulls off the freeway to have a meltdown), and much is very recognizable. And there are Loh’s familiar humorous descriptions, which can make even a session with a couple’s therapist funny in the extreme. It can only get better.
What: “The Madwoman in the Volvo” When: through June 26, 8 p.m. Tuesdays through Fridays, 4 p.m. and 8 p.m. Saturdays, 2 p.m. and 7 p.m. Sundays Where: The Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $25 – $77, premium seating $125 Info: (626) 356-7529 or http://www.pasadenaplayhouse.org