AN ASR THEATER REVIEW: “Sovereignty” a History Lesson Well Served at MTC – by Barry Willis

The signing of the Treaty of New Echota (L-R: Elizabeth Frances, Adam Magill, Kholan Studi, Scott Coopwood, Andrew Roa, Robert I. Mesa). Photo credit: Kevin Berne.

The displacement of conquered people is pretty much the history of the human race. So is the disregard of treaties by conquerors. Most historical retellings vary only in the degree of dishonesty and savagery depicted of conquerors toward the conquered—a degree that depends largely on which side the tale comes from. History is told by the victors, as the old adage has it.

At Marin Theatre Company through October 20, Mary Kathryn Nagle’s “Sovereignty” examines in detail the legal and illegal wranglings of 1832 that resulted in the forced migration of the Cherokee people from Georgia to Oklahoma (the infamous “trail of tears”). White settlers supported by President Andrew Jackson were making incursions into the Cherokee Nation, in violation of a treaty that gave the Cherokee jurisdiction over their land and all that took place on it. In Worchester v. Georgia the US Supreme Court under Chief Justice John Marshall upheld native sovereignty, a decision defied by Jackson and his loyal US Congress. (Any resemblances between Jackson’s erratic antics and those of the current occupant of the White House are purely intentional.)

Sarah Bird Northrup (Ella Dershowitz) and John Ridge (Robert I. Mesa) make plans for their future. Photo credit: Kevin Berne.

As told by Nagle, Cherokee legal scholars John Ridge (Robert J. Mesa) and Major Ridge (Andrew Roa) worked within the court system to assert the rights of their people, but were considered traitors by more militant Cherokee leaders, such as John Ross (Jake Waid), who favored armed conflict as the only way to insure their survival—or in Ridge’s view, their total destruction. Mutual distrust  between their descendants continues into the present, when a brilliant lawyer named Sarah Ridge Polson (Elizabeth Frances) seeks a position with the office of Cherokee Attorney General Jim Ross. As a member of a rival clan, Polson conceals her family identity until well after she’s landed the job.

Acting and pacing are both first-rate…

The issue of clan identity and inherited guilt is a running theme throughout the play. It’s a common story—people in many cultures are often deemed responsible for the actions of their ancestors—but Nagle doesn’t delve into its illogic. And she acknowledges with barely a nod that the Cherokee were slave owners. Instead she focuses on the outrageously illegal actions of Jackson and his ilk, and on more recent events, such as the 1978 Supreme Court decision Oliphant v. Suquamish Indian Tribe, which largely voided the benefits of Worchester v. Georgia, including eliminating the rights of native people to prosecute criminal acts by non-natives. In her notes in the playbill, Nagle mentions that attacks against natives by non-natives have risen horrendously since then—especially attacks against native women. Oliphant, in her view, was vindication of Jackson 140 years later.

Polson, her lead character, is a seeker of justice, in particular, one seeking enforcement of the Obama administration’s Violence Against Women Act (VAWA) that will restore some protection to native women—an argument she makes forcefully to the US Supreme Court in the play’s closing scene. Elizabeth Frances is at the height of her theatrical powers here. It’s a tremendous bit of theater with a resounding message, strongly directed by MTC Artistic Director Jasson Minadakis.

Flora Ridge (Ella Dershowitz) and Sarah Ridge Polson (Elizabeth Frances) reconnect in the family graveyard. Photo credit: Kevin Berne.

Acting and pacing are both first-rate in this piece, written by a native American and featuring several native actors. The past and present intersect almost seamlessly and sometimes confusingly, the two periods often distinguished only by the position of a long table on stage or by the costumes worn by actors.

The blending of the past and present is a dramatic structure to reinforce the concept of how much the present resembles the past. This sort of blending is also applied to the character of Ben O’Connor (Craig Marker, who also plays Andrew Jackson) a white detective who, early in the first act, leaps to the defense of Polson’s brother Watie (Kholan Studi) when he’s accosted by a drunken redneck (Scott Coopwood, superb in several roles). Ben is incensed by the redneck’s blatant racism, and exhibits admirable bravery in dealing with him. Shortly thereafter he charmingly asks Sarah Polson to marry him, and she agrees, but as soon as he’s downed a couple of drinks he becomes an insufferably small-minded racist jackass himself.

It’s a convenient plot device but doesn’t ring true, and provokes related questions such as why a whip-smart lawyer like Sarah Polson can’t perceive that her fiancée isn’t trustworthy. Such limitations in the script prevent “Sovereignty” from earning unlimited praise. Nonetheless, it’s a very good effort by a talented cast, presented as compellingly as possible—a history lesson well served.

ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

ProductionMother of the Maid
Written byJane Anderson
Directed byJasson Minadakis
Producing CompanyMarin Theatre Company (MTC)
Production DatesThrough Dec 15th
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$10– $60
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK?YES!

AN AISLE SEAT THEATRE REVIEW: “Jazz” Dissects Life to Imitate Music at MTC – by Cari Pace

Clockwise, left to right: Troy, Tenille, Sullivan, Wright, Hall, Mayes, Lacy (Photo Credit: Kevin Berne)

The dictionary defines “jazz” as American music developed from ragtime and blues and characterized by propulsive syncopated rhythms, polyphonic ensemble playing, varying degrees of improvisation, and often deliberate distortions of pitch and timbre.

It’s an accurate parallel to Nambi Kelley’s latest play “Jazz,” just opened at the Marin Theatre Company in Mill Valley. All the jazz components are here, dissected on stage. Based on the book by Toni Morrison and directed by Awoye Timpo, this production propels story lines, characters, and time frames from 1920s Virginia cotton fields to NYC’s Harlem. It’s not a musical and there are no instruments onstage, although Marcus Shelby’s music adds to the texture of the performance.

“Jazz” opens with a young girl’s funeral, then aggressively explodes into a polyphonic ensemble of an emotional wife and a cuckolded husband, surrounded by busybodies. A colorful talking and singing parrot joins the cacophony in an over-the-top role by multi-talented Paige Mayes.

Just let it waft over and enjoy.”

With jazz music, a bluesy baseline melody can be ephemeral, quickly punctuated then disappearing. It typically returns later, played by another instrument or in a different key. The well-worn story lines in “Jazz” follow this lead.

Wright, Mayes, Sullivan (Photo Credit: Kevin Berne)

Post-funeral, a flashback begins with the blues. It’s a mother’s suicide, and a young girl (C. Kelly Wright) is sent off to work the cotton fields. Boy (Michael Gene Sullivan) meets girl, they enjoy some happy married years, then husband meets younger girl (Dezi Soley), younger girl tempts then taunts husband, husband rages out of control, wife rages at girl’s funeral. And we’re back where we started, almost.

A reappearing melody or theme is a familiar and welcoming ploy in every genre of music, yet difficult to manage on the stage. Threads of several story lines in “Jazz” repeat stage right, then left, with minor changes in pitch and timbre. These flashbacks can be confusing; it’s best not to fret. Just let it waft over and enjoy.

The actors put a lot of energy into their roles, although without mikes many quick spoken lines are lost. Local favorite Margo Hall plays multiple roles with skillful versatility while Lisa Lacy, Dane Troy and Tiffany Tenille complete the talented cast. They dance ragtime, sing snippets of spiritual songs, and make the most of the “devil music” in “Jazz.”

ASR reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionJazz
Written byAdapted by Nambi E. Kelley
Based on the book by Toni Morrison
Music by Marcus Shelby
Directed byDirected by Awoye Timpo
Producing CompanyMarin Theatre Company (MTC)
Production DatesThrough May 19th
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$10 – $70
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.5/5
Script3/5
Stagecraft3/5
Aisle Seat Review PICK?-----

An AISLE SEAT THEATER REVIEW PICK! August Wilson Brought to Life in “How I Learned What I Learned” – by Barry Willis

Pulitzer Prize-winning playwright and national treasure August Wilson was taken from us too soon, in 2005 at 60 years of age. A self-taught high school dropout who authored dozens of plays—among them, “Fences,” “Gem of the Ocean,” “Ma Rainey’s Black Bottom,” “Jitney,” and “Joe Turner’s Come and Gone”—the prolific Wilson accumulated many honors and awards. What he might have achieved had he lived longer is the stuff of speculation, but what he accomplished is astounding, the real meaning of “a lasting legacy.”

‘How I Learned What I Learned’ is a couple of the most rewarding hours you’re likely to have in a theater this year…

Through February 3, Marin Theatre Company is presenting Wilson’s autobiographical one-man play “How I Learned What I Learned” starring veteran actor Steven Anthony Jones, directed with great sensitivity by Margo Hall.

Steven Anthony Jones as August Wilson.

Anchored in Wilson’s upbringing in Pittsburgh’s Hill District, the performance is a seamless blend of reminiscence, historical fact, observation, and sermon, much of it a mix of personal anecdotes that range from exceedingly tender—a grade-school epiphany when he kisses the girl of his dreams—to absolutely horrific. He was a close-up witness of a murder provoked by an insult.

Jones’s monologue covers an astounding amount of time and material—from Wilson’s childhood in Pittsburgh to his adult years in St. Paul and Seattle—all of it conveyed with insightful wit and the intimate, avuncular wisdom of a wily old preacher.

Steven Anthony Jones working at MTC.

A cooperative production with the Lorraine Hansberry Theatre and the Ubuntu Theater Project—the show moves sequentially to those two venues when it leaves MTC—“How I Learned What I Learned” is a couple of the most rewarding hours you’re likely to have in a theater this year.

 

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com

 

Production“How I Learned What I Learned”
Written byBy August Wilson
Directed byDirected by Margo Hall
Producing CompanyMarin Theater Company (MTC)
Production DatesThru Feb 3rd.
Production AddressMarin Theater Co.
397 Miller Ave.
Mill Valley, CA
Websitewww.marintheatre.org
Telephone415.388.5200
Tickets$25 – $70
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script5/5
Stagecraft3.5/5
Aisle Seat Review PICK?Yes!

**** AN AISLE SEAT REVIEW PICK **** “Oslo” a Tour-de-force at Marin Theatre Company – by Barry Willis

Marin Theatre Company has extended through October 28 its stunning production of “Oslo,” directed by MTC artistic director Jasson Minadakis.

A west coast premiere of J.T. Rogers’s Tony Award winner, MTC’s production is an all-star effort revealing the backstory of 1993’s Oslo Accords that offered hope of lasting peace between Israel and Palestine. In a heartbreaking coda, “Oslo” also brings that portentous development into the present, with a recitation of what became of those involved in the discussions, and of many tragic events that followed, scuttling the promise of the agreement.

It’s a consistently riveting drama despite its nearly three-hour length. Imagine a PBS historical mini-series compressed into one evening. The core story centers on Norwegian husband-and-wife team Terje Rod-Larsen and Mona Juul (Mark Anderson Phillips and Erica Sullivan, both excellent), who work behind the scenes to get Israelis and Palestinians to begin talking. Rod-Larsen is an advocate of “gradualism,” getting representatives of the two sides to recognize their common humanity through personal small talk that later leads to serious negotiation.

Everything about this show is top-rung: script, performance, pacing, set, sound, lighting..

In the historically accurate retelling, Mona Juul is actually a member of the Norwegian foreign service, but Rod-Larsen has no official standing, and what they do has only the most reluctant approval from her top boss, Johan Jorgen Holst (Charles Shaw Robinson), all of it kept secret, especially from meddling Americans. The larger story is the tentative and contentious discussions, first between Palestine Liberation Organization officials Ahmed Qurie (J. Paul Nicholas) and Hassan Asfour (Ashkon Devaran) and two Israeli economics professors, who have no official status.

PLO Finance Minister Ahmed Qurie (J. Paul Nicholas, left) speaks with Israeli Director-General of the Foreign Ministry Uri Savir (Paris Hunter Paul) while Norwegian mediators Terje Rød-Larsen (Mark Anderson Phillips) and Mona Juul (Erica Sullivan) look on.
Photo: Kevin Berne, Marin Theatre Company

This segues into negotiations with real Israeli heavyweights, lawyer Joel Singer (Peter James Myers) and Uri Savir (Paris Hunter Paul), negotiations that range from friendly and familial to near-fistfights. Throughout it all, Rod-Larsen works to keep them all on track, exercising an incredible amount of self-control and diplomatic skill, an astounding job of acting by Phillips.

Erica Sullivan steps out of character at many points in the story to address the audience directly, describing what has happened between scenes or at locations unseen by the audience. She has rock-solid temperament throughout, both in and out of character.

Norwegian mediators Mona Juul (Erica Sullivan, left) and husband Terje Rød-Larsen (Mark Anderson Phillips) speak with Israel and the PLO.
Photo: Kevin Berne, Marin Theatre Company

Veteran actress Marcia Pizzo appears in several roles, including as a member of the Norwegian diplomatic corps and as the sweetly beguiling Toril Grandpal, whose waffles seduce everyone at the negotiating table.

Sean Fanning’s deceptively simple set is perfect as the several locations in which the story plays out—a hotel in Oslo, offices in Tel Aviv and Tunis—with an unexpected reveal as a light snow storm through which Qurie and Savir stroll in a moment approaching friendship. Everything about this show is top-rung: script, performance, pacing, set, sound, lighting. Best of all is that it gives the audience plenty of substance to mull over in the days following a performance. “Oslo” is a show that should be on every serious theatergoer’s must-see list for the month of October.

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.

 

Production“How I Learned What I Learned”
Written byBy August Wilson
Directed byDirected by Margo Hall
Producing CompanyMarin Theater Company (MTC)
Production DatesThru Feb 3rd.
Production AddressMarin Theater Co.
397 Miller Ave.
Mill Valley, CA
Websitewww.marintheatre.org
Telephone415.388.5200
Tickets$25 – $70
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script5/5
Stagecraft3.5/5
Aisle Seat Review PICK?Yes!

 

An ASR Theater Review! Pointless, Misguided “Straight White Men” at Marin Theatre Company – by Barry Willis

Straight White Men at Marin Theater Company

A Christmas holiday family reunion goes off the rails in Young Jean Lee’s “Straight White Men” at Marin Theatre Company, through July 8.

Directed by Morgan Gould, the one-act production has brothers Jake and Drew (Seann Gallagher and Christian Haines) converge on their family home to celebrate with brother Matt (Ryan Tasker) and father Ed (James Carpenter). In their 30s and 40s, the brothers immediately revert to middle-school antics when they get together. Some of this is funny, in the way that adults behaving like children can be funny, but most of it goes on too long. There are some comedic bits that are truly brilliant, such as Matt vacuuming the floor with great dignity, the brothers vamping like runway models in their new Christmas pajamas, or their extended faux-improv on the theme song from “Oklahoma” that emphasizes racial superiority and Nazi madness.

Scant comedy mostly provides a smokescreen for the lack of substance in Lee’s script, a thinly veiled attack on the pretenses and privileges of heterosexual Caucasian males. The brothers and father are all not merely straight white men, but the worst of their kind, liberal straight white men—those who pretend to be allies of the oppressed but are actually enemies.

Cast of “Straight White Men” at MTC

Ed is a retired engineer who runs his own social-good foundation; Jake is a banker whose kids “are half-black;” Drew is a novelist and tenured professor; the under-employed Matt spent ten years working toward a doctorate at Stanford, including a year in Ghana, as he describes it, “teaching things I didn’t understand to people who didn’t want to learn them.” To beat the audience over the head with their hypocrisy, Lee has them play a board game called “Privilege” designed by their departed mother.

The core of the drama is Matt’s depressed, rudderless existence. He’s overeducated, doing menial work and living with his father, whom he helps with chores and household maintenance. He carries a crushing load of student debt accumulated from a decade in pursuit of his dead-end Ph.D., and lacks the confidence to engage in conversation in a job interview. Brother Jake coaches him on how to do this, then brother Drew tries to help him with some feel-good therapy, telling him if he doesn’t follow through, their relationship is over. Ed whips out his checkbook and in a stunning act of generosity, offers to clear Matt’s debts. Then he boots him out. The end.

Where is the second act that resolves the can of worms that’s opened in the first? The whole production is just an arbitrary unflattering snapshot of some ordinary people. The essence of “Straight White Men” is little more than a few somewhat-related ideas looking for a structure. Despite the praise heaped upon playwright Lee in the program (and elsewhere), the story comes off as a half-baked work-in-progress. How it arrived at a major Equity house is baffling and unbelievable, but the acting is excellent—James Carpenter is our local national treasure; Ryan Tasker is terrific—and the set design by Lucciana Stecconi is wonderful.

The huge unanswered question provoked by “Straight White Men:” What is the point of all this? The script has no character arc and almost no dramatic arc. Second unanswered question: What is the point of the framing device of the two observers (“Person in Charge 1” and “2”)?  Person in Charge 2 (Arianna Evans) is a malevolent punk princess who glowers at the audience from stage left or right, looking as if she might inflict serious damage from her leather-clad fists should anyone dare to speak. Then there’s Person in Charge 1 (J Jha), a bearded representative of the gender-fluid community, who flits around in a lurex hoodie during fifteen minutes of deafening, screechy electro-thump as the audience finds their seats. It’s a lot to ask of paying customers, who are then treated to a lecture on the trendy misuse of personal pronouns and possessive adjectives, in particular, the use of “they” as a singular pronoun applied to individuals with multiple gender identities. How any of this relates to the story of the depicted family is a mystery.

Final question: What if an equivalent play were written by a straight white male about four Asian women, exploiting every conceivable stereotype? Critics would vilify it. Protesters would be lined up around the theater and down the block. They might even succeed in shutting down the production. Today straight white males are the only ethnic group that can be ridiculed with impunity. Keep that in mind when you sit down to endure your next sermon on political correctness.

 

ASR Theater Section Editor and Senior Writer: Barry Willis

Barry Willis is ASR’s Theater Section Editor and a Sr. Contributor at Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

 

 

“Straight White Men” by Young Jean Lee, directed by Morgan Gould

Through July 8: Tues-Sun, 7:30 p.m

Marin Theatre Company  397 Miller Avenue Mill Valley, CA  94941

Tickets: $22 – $60

Info: 415-388-5208, www.marintheatre.org

Rating: Two out of Five Stars

ASR Theater Review! Fascinating, Chilling “Marjorie Prime” at MTC – by Barry Willis

 

MTC: Marjorie Prime

Humanoid artificial intelligence is a long-running popular theme in science fiction, comic books, movies and TV shows—and a burgeoning reality. Major technology companies have already demonstrated believable prototypes. Cyborgs, androids, replicants—call them what you will—they are an inevitability, but theater pieces about them have been glaringly absent from the live performance stage.

That all changes with “Marjorie Prime,” Jordan Harrison’s incisive one-act, in which cyborgs (called “primes”) are therapeutic tools to help people deal with loss—of loved ones, or with memory. At Marin Theatre Company through May 27, the play is set in the near future—lead character Marjorie is an 86-year-old born in 1977—and imagines helpful, realistic androids that take on the appearance, personalities, and mannerisms of the departed. Marjorie (the fantastic Joy Carlin) is a faltering widow whose “prime” is a replica of her husband Walter as a thirty-something young man, portrayed with grace and stealth by Tommy Gorrebeck. Walter Prime provides companionship and fills in the blanks for Marjorie as she reminisces about the past. In doing so, he helps to make the past better for her than it actually may have been. When not engaged, he becomes silent and motionless, very much the way Amazon’s Alexa and Apple’s Siri reside in the background, waiting to be summoned.

Marjorie is a burden for her daughter Tess (Julie Eccles) and son-in-law Jon (Anthony Fusco), who provide her care. Their sometimes contentious relationship is also wrought with a problematic past and as the story progresses each of them gains or is replaced by his or her own prime, whose personalities evolve as they gain information. The spare dialog runs the gamut from nonsequitor to profound insight and spans the emotional spectrum from despair to hilarity. Marjorie confounds Tess and Jon with archaic references to a rock band called “ZZ Topp,” which they have never heard of, and quotes a Beyoncé song to their bafflement.

It’s a brilliant concept, and a brilliant script—a 2015 Pulitzer Prize finalist—superbly delivered by four supremely talented actors under the direction of Ken Rus Schmoll, on a simple modernistic set by Kimie Nishikawa, the passage of time conveyed by a few prop changes and some beautiful projections of summer sky and falling snow. “Marjorie Prime” is a stunning, thought-provoking bit of theater that deserves a sold-out house for each performance. It’s that good.

Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

“Marjorie Prime”

Marin Theatre Company  397 Miller Ave.  Mill Valley CA 94941

Through May 27, 2018

Tickets: $10 – $44

Info: 415-388-5208 www.marintheatre.org

Rating: Five out of Five Stars

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ASR Theatre Review! Quirky, Fascinating “Wolves” at MTC – by Barry Willis

 

A high-performing athletic team is very much a family, with all the closeness, cohesion, and dysfunctionality that “family” implies.

“The Wolves,” at Marin Theatre Company through April 8, is about one such family—a girls’ soccer team angling for a national championship. We never see them compete. Instead, all the action plays out before each game, on an indoor practice field where they train and rib each other about everything from typical teenage interests—parents, boyfriends, school—to issues they only partly understand, such as world geography and historical events.

Playwright Sarah Delappe has an expert’s ear for teen patois—her girls stammer and stall for time by inserting “like” in every other phrase, in near-universal rising intonation. She also has an intimate knowledge of athletes’ rough-and-tumble camaraderie—there are plenty of “f-bombs” hurled, none intended to harm, and the players, identified only by the numbers on their jerseys, often call each other “dude.” There’s a surplus of this stuff in the opening scene, which almost comes off as an overlong Saturday Night Live sketch, but the storyline takes a somber turn with the appearance of a talented new teammate claiming never to have played organized “football,” followed by a potentially career-ending knee injury to the Wolves’ star striker.

It gets more serious still with a tragedy that befalls the team, threatening to derail all their hard work, but they quite believably close ranks, more united than ever. It’s a beautiful moment about the empowering potential of loyalty and friendship.

Director Morgan Green coaxes excellent performances out of her ten-woman cast, all of them stage veterans and for the most part young enough to pass as high-schoolers. Of particular note are Portland Thomas as #11, with an amazingly relaxed and natural performance, and the energetic Sango Tajima as team captain #25, who pushes her comrades with a drill instructor’s grit and the shouting of almost comical slogans like “Teamwork makes the dream work!” Liz Sklar is outstanding in a cameo as the distraught Soccer Mom.

Approximately 90 minutes with no intermission, “The Wolves” is a captivating production and an unusual undertaking for Marin Theatre Company, which will host a final-day performance by the troupe’s understudies, most of them real high-school girls from Marin County. Their nickname: the “Wolf Pups.”

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

“The Wolves” by Sarah Delappe

Through April 15, 2018

Marin Theatre Company

397 Miller Ave, Mill Valley, CA 94941

Tickets: $10 – $49 Info: 415-388-5208, boxoffice@marintheatre.org

Rating: Three-and-a-Half out of Five Stars

 

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