- recent theatre
-

kitgordon
- November 27th, 2010
Since returning from our trip to France and England (where we saw only one play, Warhorse, in London--which was amazing), we've seen lots of local theatre. I just wanted to get a few thoughts down before they completely flee my brain cells.
Doubt/Workhouse Theatre. Good overall; I liked the script, which I hadn't read or seen before, and the production was solid. Amazing what can be done on that small stage.
Anon/20% Theatre Company. I like this company, and thought the production was good. I wasn't as thrilled with the script; listening to everyone in a group therapy session got very old, very quickly. As a long-time feminist, I really want to see more good plays by women, and what bothered me about this one was that all the men seemed to be sex addicts and all the women (even Allison, the central character) enablers. Maybe I live in a different world.
Life's a Dream/Ten Thousand Things. This company never disappoints me, probably because of both their mission and their style: text and actors are what you get, with minimal set, costumes, props. I'd never seen anything by Calderon either, so that was a treat. And the performances were excellent.
Unspeakable Things/Sandbox. Amazing set; amazing costumes; amazing performances. When I read about Donald Wandrei on Wikipedia the next day, I thought that the play probably captured something of his life. My problem--and this is my problem--is that I really go to theatre, and read novels, and see films because I'm totally hooked on narrative. This more surrealistic approach was interesting, but I didn't really feel involved. I would have enjoyed it more if there was a bit more of a narrative thread to hang the images on; that said, the images were pretty amazing.
The Crowd You're in With/Walking Shadow. Another decent production, but a disappointing script. I didn't see any reason why I should be interested in these people, and their issues/problems seemed very mundane. (This is why I don't read contemporary literary fiction--most people's problems today are pretty boring; give me a good fantasy any day). And Melinda was way too pregnant for six months, which was very distracting. No one moves around like that at six months (speaking from experience).
10 Virgins/Theatre Unbound. The idea of recreating/rewriting fairy tales is a good one and some have been very successful at this (Angela Carter, the anthologies by Ellen Datlow and Terri Windling, Patricia McKillip), but this one was pretty disappointing, and very bleak. Again, the production was fine, but the script less so: it just didn't feel very imaginative, and while I don't require happy endings in books or plays, the culmination of this story seemed very creepy--no way out for these women except death? Is this what feminist theatre has come to?
Fully Committed/Jungle Theatre. Wild, crazy, fun. And Nathan Keepers was terrific; I missed this the first time around so I'm glad I had the opportunity to see it this time. Set and sound design were also remarkable. And kudos to the stage manager, John Novak, who had to work just as hard as Nathan.
'Tis Pity She's a Whore/Classical Actors Ensemble. Good ensemble, open staging, insane script (well, I knew that). The company's decision to sing contemporary songs during the act breaks didn't work for me--it really interrupted the flow of the play. It may be authentic, but it takes you right out of the story. My other minor problem with the interpretation was that the actors seemed too contemporary for the script; doing a historical play in modern dress doesn't necessarily mean the characters behave as if it were 2010. I would have liked them to have more of a classical (hey, that's their name), formal approach to movement and interactions.
Whew! And for light relief, tonight it's Santaland Diaries and tomorrow The Harty Boys Save Christmas.