Reviewing Theatre For Over 40 Years
Tag Archives: Tom Stoppard
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
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