This weekend has been a busy one for me—I went to three different theatrical performances:
- Saturday night: 8 tens @ 8
- Each year, the Actors’ Theatre puts on a show consisting of 8 10-minute one-act plays, which they select from submitted manuscripts. (I wrote a little of the history in 8 Tens @ 8 in 2016). My wife and I went to see the A show on Saturday night—we’ll go to the B show in a couple of weeks. The plays were not all of equal quality—not in the writing, not in the directing, and not in the acting.
- Our favorite of the A show was You Too, by Tim Woods, directed by Scott Kravitz. The lines were good, the characters believable, and acting and directing spot-on.
- Also excellent was A Shared View, by Mary Caroline Rogers, directed by Audrey Stanley. The script was a little less strong, but the acting and directing were excellent (both MarNae Taylor and Marcus Cato were well cast). Good Medicine by Rod McFadden was fun, but very predictable. Flirting with Age, by Jack Spagnola (the only author without a blurb in the program), was a pretty predictable farce, but we enjoyed seeing MarNae in a very different role than she had in A Shared View. It is always a good idea to end with a farce (or at least a comedy), so that people leave feeling good about the show. Flirting with Age was a good choice for this position (though Good Medicine might also have worked, it wasn’t quite as fun).
- Threatened Panda Fights Back was too silly for the somewhat serious theme of extinction—the costuming was fun, but I was not otherwise impressed with the play. The Italian Prisoner by Paul Lewis had directorial problems (the singer was much too loud relative to memory of the boy Joey Rosen), the acting was a bit wooden, and the script too obviously borrowing from Tosca. Following Ms. Sergeant was a good effort with a rather flawed script—the sudden confessional mood seemed out of character for both characters, and the resolution too forced. Janis Gives Comfort was trying to handle “death and sex” as a theme in a nostalgic vein, but it didn’t resonate at all with me—perhaps I just didn’t care enough about Janis Joplin, who the main character was obsessed with.
- Sunday morning: Winter’s Tale
- The Del Mar Theater had the broadcast of Shakespeare’s Winter’s Tale performed by the Kenneth Branagh Theatre Company from the Garrick Theatre. The Winter’s Tale is not often performed, because it is a somewhat muddled combination of a number of themes (jealousy, young lovers in disguise, rustic merriment, …) better handled in other plays. Branagh assigned himself the choice role of Leontes, but then over-acted the part. OK, it isn’t the subtlest part Shakespeare ever wrote, but it doesn’t call for crumpling up on the stage with stomach cramps all the time. Setting the initial scene at a Victorian Christmas party exchanging token presents also seemed rather forced. Judi Dench as Paulina was very good, though, and the dancing in the rustic scenes quite impressive (if a little more balletic than country). It was worth going to see The Winter’s Tale, but there’s no reason be sad if you missed it.
- The Del Mar had put the broadcast in one of their small upstairs theaters, which sold out—I think that there was a high-school class getting credit for attendance. It would have been better in the larger theater downstairs. But the Del Mar was definitely the right theater to show the broadcast in, as it has the closest that Santa Cruz gets to the gilt plaster ornamentation of the Garrick Theatre.
- Sunday evening: Neil Gaiman’s Graveyard
- West Performing Arts did a theatrical performance of Neil Gaiman’s Graveyard, using only 6 actors (5 female, 1 male) and 3 musicians. The actors were fairly young (middle school or early high school, I think). One review on a homeschool mailing list said “Very different from everything else I’ve seen going on locally in this age group,” but it seemed to me to be pulling together many of the theatrical techniques I’ve seen WEST developing over the past few years with their teen actors.
They did a lot of chorus work, like at the Shakespeare conservatory; they did a lot with solid colored lights and backlighting (using their LED floods); they had movement pieces like the ones S. Kate Anderson had done for Call of the Wild; there was a “seduction” scene done in single-word lines, inspired by a Carol Burnett sketch that my son and another teen actor had performed at AFE (under WEST direction); and the actors kept changing roles, with a hat or a shawl to mark the characters (also from a Shakespeare conservatory). They had a dance scene under blacklight with fluorescent makeup (WEST has learned something since the days they tried Star Wars with glow-in-the-dark paint—fluorescence is much more visible and controllable than luminescence).They were pretty true to the plot of the book, while making a very theatrical production, and I was impressed by how well they pulled off a rather difficult bit of theater. The next generation of WEST actors is going to do well. I was only sad that the light rain had kept people away, and the house was only about 80% full—the performance was good enough that they should have been selling out every night. (Of course, with only 6 actors, the built-in audience of family and friends is smaller than when they have a larger cast.)
My weekend was busy (in addition to the theater, I did a bit of blogging and spent most of a day putting together a course fee request for two-quarter version of the Applied Electronics course), but my wife was even busier, as she went to a Metropolitan Opera broadcast on Saturday morning, at a different theater chain than the Shakespeare broadcast on Sunday morning.