Snow Falling on Cedars…

Great-grandparents may remember slavery, parents can recall the bombing of Pearl Harbor and kids graduating high school watched the World Trade Center crumble on live television. History is anything but dead and gone. The events in Snow Falling on Cedars, TheatreWorks’ latest production, surround the racial prejudice and tension of World War II—battles fought less than seven decades ago. However, for the characters, and possibly the audience, the passage of time means nothing next to the emotional connection to our collective history.

Based on the novel by David Guterson, Snow Falling on Cedars is a murder mystery set against the backdrop of two children who fall into a star-crossed love that would make Romeo feel pity. Hatsue Miyamoto (Maya Erskine) is a Japanese immigrant in Washington who works in the strawberry fields alongside an American boy, Ishmael Chambers (Will Collyer), when they find their friendship evolving into love. After Japan attacks Pearl Harbor, America enters the war and the two lovers are bitterly forced apart: Ishmael to fight and Hatsue placed in an internment camp. They are brought together years later, in 1954, when Hatsue’s husband is accused of murder.

Kevin McKeon’s ambitious stage adaptation mirrors the racism, cultural conflicts (within a single culture and between cultures) and the struggles to define oneself that the book covers in 450-plus pages. It’s a testament to McKeon’s work that such heavy content, both in subject matter and quantity, does not bog down the production. After a rocky start, where the characters stumble over each other to introduce themselves in the third-person, director Robert Kelley beautifully finds his pacing and steers the actors through the material with flawless transitions between scenes and settings—a change that’s often indicated with nothing more than a slight shift in staging or tone.

McKeon and Kelley would be dead in the water if they tried to pull off such an aggressive adaptation without anything but a stellar cast. You can’t help but smile at the youthful chemistry that Erskine and Collyer bring in the first act, and as Hatsue’s husband, Kabuo, Tim Chiou wonderfully embodies the silently boiling rage of a man who’s oppressed as much by his own pride as the prejudice from others. The supporting cast is strong, most notably Kabuo’s lawyer, Nels Gudmundsson (Edward Sarafian). Believable, genuine and powerful, every actor should strive for the natural flow and delivery in Sarafian’s performance.

A couple of choppy waves, such as actors delivering lines with backs turned to the audience so often that the tactic loses any intended emotional emphasis, keep this production from being entirely smooth sailing, but it’s a voyage no one should miss. Disconnected in the pages of a history book, our past is our present and the future; sitting next to us on the bus, across the dinner table or, here, onstage. At the curtain, one is reminded of the famous quote “Those who cannot remember the past are condemned to repeat it” leading to a question that Gudmundsson asks Kabuo’s jury, “Will you rise up against this endless tide and, in the face of it, be truly human?”

Snow Falling on Cedars
A TheatreWorks production
Runs through April 24
Mountain View Center for the Performing Arts
$19-$56

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Cirque du Soleil’s “Quidam”…

Heading down the street, a million thoughts race through one’s head. Pick up the kids, pay the bills and set the TiVo for that Perfect Strangers marathon. All the while, people race past, each consumed with a similar inner monologue. Attentions drawn inward, everyone focuses on the same thing and yet no one acknowledges or shares this connection with others. For Cirque du Soleil, the people and this possible connection cutting through the anonymity is a wondrous plane of existence full of emotions, empowerment and dreams. In one word, it’s Quidam.

Premiering in April 1996, Quidam (pronounced “key-dom”) is the story of a young girl, Zoé, who wants desperately to connect to the parents who ignore her. Zoé‘s imagination spirits her away to a land of larger-than-life characters that help the child find a voice in her own world. The show opens March 24 in San Jose at the HP Pavilion.

The 52 acrobats, singers and musicians expand on their characters with amazing displays of dance, contortion, balance and strength. These artists, such as Olga Pikhienko, bring their own talents and interests to Cirque du Soleil’s patented blend of theater and circus.

“You are really involved in the creation of your act,” Pikhienko, a hand balancer, told me in a recent interview. In an average day during development of a show, Pikhienko explained, “we take classes—yoga, acting, singing and dance—and then we spend three hours experimenting with our act. Then we work with the choreography and the musical director.”

Pikhienko began training as a rhythmic gymnast in Volgograd, Russia, when she was 5 years old. At 11, she began to perform with her father, Alexander Pikhienko, in Moscow’s Nikulin Circus, and the two went on to win numerous prestigious awards, such as a gold medal at the International Festival in Paris in 1992 and a silver medal in Beijing at the World Festival a year later.

A cast member of Quidam from its opening until 2001 and then again from 2006 on, Pikhienko also performed aerial contortion and cloud swing acts, but her favorite is hand balancing, and she draws her inspiration for her act from the creative minds around her: “I listen to the music, trying to create a mood. I think, ‘What is the mood here, what do I want the audience to feel?’”

From here, the choreography is born, so each dancer brings something unique to the stage even if it is the same character in the same show. Drawn from the Latin word meaning “something or someone,” Quidam is identical to the original Big Top show in Montreal. “Everything about the production is the same,” Cirque’s Reggie Lyons said, “but this show is different than other Cirque shows. It came right after Alegria, a light, elegant, baroque show filled with cool blues and silvers, and Quidam has an urban, almost gritty feel to it. I hesitate to say it, but it’s a good type of darkness.”

While the extravagance, mind-blowing movements and over-the-top theatrics are there, Quidam is also unlike any other Cirque du Soleil show in that it deals with real issues and takes place in our world not just in a fantasy realm. Even so, Quidam doesn’t follow a narrative, and the singers use a made-up language to avoid forcing specific ideas or themes on the audience, plus it makes it easier to take the show around the world.

Pikhienko recently left Quidam to help create and perform in a new show called Iris, which opens in Los Angeles in September. Anna Ostapenko now performs the hand-balancing stunts. “The foundation of the act doesn’t change,” Pikhienko explained. “[Anna] began by wanting to do everything the same, but the choreographer, Debra Brown, told her to ‘Leave that alone. Let the movements come from you.’”

As Ostapenko puts her own touch on a character from Zoé‘s imagination, Pikhienko plays out the wishes of the isolated, young girl from Quidam. In Iris, for the first time since she left Russia at the age of 15, a daughter will once again perform onstage with her father.

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Slide…

Blondes are ditzy, overweight people must be unhappy and fast-food workers are not intelligent. These snap judgments are all things that we may accept without question because of repetition or stubbornness or because it’s just easier.

However, what if the world presents evidence to the contrary, are we willing or even able to re-evaluate these shaky certainties? Using music and theater, Slide, a performance making its Bay Area premiere as part of the Stanford Lively Arts program, examines this question and the potential loneliness caused by isolating ourselves from information that contradicts our beloved perceptions. Landing somewhere between a symphony and a play, Slide incorporates acting and singing into an 80-minute song cycle split into 11 sections.

“This piece is musically driven,” composer Steven Mackey explains in a phone interview. “In fact, there really isn’t much of a narrative in terms of a theatrical narrative. The whole piece gets its logic from the music.”

Mackey, who settled in California during the 1960s and, influenced by the musical culture, learned to play the guitar, attended UC-Davis “in case the whole rock-star thing didn’t work out.” There, in an elective music-appreciation class, he fell in love with classical music.

Through the Paul Dresher Ensemble, Mackey became a frequent collaborator with Rinde Eckert, a professionally trained opera singer who found his way into avant-garde musical theater. Eckert wrote the libretto for Slide and plays a psychologist named Renard, who addresses the audience and Mackey (onstage playing the guitar) while performing an enigmatic experiment.

“I love his acting and his fluidity in switching between spoken word and singing,” Mackey says of Eckert. “Some people might listen to this and say, ‘OK, there’s a song, and then there’s music accompanying a monologue,’ but to me it’s all part of the song.” The song cycle’s music comes from eighth blackbird, the Grammy Awardwinning new-music chamber orchestra for which the piece was composed. The group also appears onstage as part of Renard’s memory.

“The thorough integration of [eighth blackbird] is what’s intriguing,” says Eckert, who makes his home on the East Coast. “The attempt to incorporate this kind of ensemble into a poetic gestalt is unusual, and the fact that eighth blackbird takes on something like this is wild.”

For both creators, the ensemble’s presence, the acting and the themes are all part of the experience, but it always comes back to the music. “It’s a concert contextualized by these other elements,” Mackay summed it up.

“All of the elements serve as a frame; in a way they act as captions to the music,” Eckert said, “We want you to look at the painting and not the frame. We make layered work but the emphasis is always on diving in and being absorbed by the music.”

In the course of the song cycle, the audience learns that Renard’s self-created fantasy life has isolated him from the world and created an intense loneliness. “Slide illustrates a profound human tendency to hold on to the familiar instead of the truth,” Eckert says of Renard’s condition. “Whatever we’re used to believing, it’s what we want to believe despite what the world is telling us. You’ll cherry pick the evidence to confirm your worldview. We get comfortable with ourselves and when our labels prove to be destructive we hold onto them regardless.”

“For the audience, Slide is not about unpacking the loneliness of Rinde’s character, but rather contextualizing the loneliness for their own life,” Mackey adds. “I would hate people to go in there looking to learn something. It’s an experience, like a symphony is.” In maintaining emphasis on the music and away from the narrative facts of Renard’s life, Slide focuses on emotions, not evidence, to break into the audience’s comfort zone and wreak a little havoc on crafted realities.

SLIDE
Saturday, March 5, 8pm
Dinkelspiel Auditorium, Stanford
$10-$50
Buy Tickets Now

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Foothill Music Theatre: Working…

America doesn’t have a single voice; you couldn’t get every person to agree on a topic, and why would you want to? The beauty of the country is the multitude of opinions, perspectives and experiences. Studs Terkel, an oral historian, understood this, and his books feature interviews with people from all walks of life. Foothill Music Theatre’s production of Working, a musical adaptation of Terkel’s book, takes the same broad socioeconomic approach and looks at where, how and, most importantly, why people work. The result is an ambitious cross-section of American life.

The structure of the play relies on a series of vaguely connected scenes, monologues and songs where characters reflect on their profession. Since the majority of the words (the production, adapted for the stage by Stephen Schwartz and Nina Faso in 1978, adds minor dialogue and songs) come directly from the interviewees in Terkel’s book, the show functions as a spoken-word documentary backed by a variety of musical styles and choreography (Michael Ryken).

The driving force is the characters’ unique views of their professions and lots in life. From this, grows an honest and vulnerable disclosure without conclusion or judgment. An ironworker (Peter K. Owen) admonishes anyone who says that “a man is just a laborer, a woman just a housewife.” This idea, echoed by Lovin’ Al (Russell E. Johnson), a lifetime parking lot attendant, is countered by a fourth-generation cleaning woman, Maggie Holmes (‘Nique Genelle), who vows that her daughter will have a better job.

Every job provides a service; this play examines the service’s value that both the workers and society place on a profession. Al takes great pride in doing his job well; the cleaning woman looks down on her own line of work. With an amazing stage presence and singing voice, Linda Piccone plays Rose Hoffman, a longtime schoolteacher who desperately wants to be an asset to her students but is unsure of her effectiveness after so many years.

Turning this oral history into a musical is not always effective as the backup dancers and singers rarely add to the character’s words, instead burying them in—albeit fun—choreography. In addition, with a cast of more than 20 people playing 32 characters, director Milissa Carey often has to crowd the black-box stage with bodies. Many scenes slide along nicely with four to six additional singers or dancers, but when a dozen or more people are present it becomes jumbled. The resulting tangle of voices and opinions succeeds as a perfect metaphor for Terkel’s work and America, but it doesn’t work as staging. Still, it’s only a minor road bump on an otherwise fascinating journey across America that is as relevant today as it was decades ago.

Working
Through March 6
Foothill College
Los Altos Hills
$13-$26

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TheatreWorks: “The 39 Steps”…

If the thought of murder, Nazis and the risk of losing government secrets to foreign agents doesn’t have you rolling in the aisles, then you probably haven’t ascended The 39 Steps. This latest production from TheatreWorks mixes espionage, Alfred Hitchcock and vaudeville in a hilarious caricature of over-the-top spy stories.

The play’s source material is John Buchan’s novel, The Thirty-Nine Steps, written in 1915, but Patrick Barlow’s stage version follows Alfred Hitchcock’s 1935 film adaptation in characters, dialogue and plot.

Richard Hannay (Mark Anderson Phillips), a bored London gentleman, unwelcomingly finds adventure in a mysterious German woman who draws him into a deadly chase across Europe when she reveals that foreign agents are attempting to smuggle state secrets out of the country. Hannay largely acts as the straight man to scores of characters played by three other actors: Rebecca Dines, Dan Hiatt and Cassidy Brown. The constant onstage costume and character changes alter between blatantly obvious and completely hidden, both providing some of the funniest bits in the show.

Costumes aren’t the only thing the production creatively uses. The set and props are also quite effective. At one point, Hannay jumps from a bridge (a ladder) and, with the help of creative lighting, appears to plummet to the water below. Other props are intentionally unrealistic, such as Hiatt and Brown gently shaking a blue sheet to represent the water around Pamela’s (Dines) feet. The jokes are as old as vaudeville. However, the cast delivers everything so perfectly that the payoff is always worth it. Though it is an homage to the Master of Suspense (using film titles and scores and one of the director’s famous cameos), the show thrives on breaking the fourth wall and stepping outside of the material to ham it up with tongue planted firmly in cheek. In a fast-paced chase scene on a train, Hiatt and Brown play six characters and steal the show by bringing together with perfect timing all of the elements that make the show wonderful: physical comedy, pantomime to fill out a sparse set, machine-gun dialogue and actors playing multiple roles.

The second act wants to tone down the humor and falls back on the suspenseful plot. The performance is a comedy but the plot is still a thriller, and only one can be the driving force behind the production. When comedy is in control, The 39 Steps is near flawless, but when drama dominates, no one’s smiling. Luckily, Phillips anchors the second half with passionate acting and carries the plot between laughs. As a film, The 39 Steps is one of Hitchcock’s less popular works, but in this production, no matter which way you turn, it leads to a comical farce worthy of popular praise.

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Best Place to Get the Shakes…

Livermore Shakespeare Festival

It’s a shame that William Shakespeare so often finds his way to classrooms and stuffy auditoriums where he’s dissected and lifelessly regurgitated. The Elizabethan tongue should flow unbridled through the air, and hey, if that air happens to be in a vineyard on a summer night, who’s to argue? In its tenth year this year, the festival at the Concannon Vineyard features two plays that celebrate the quirks of love. The uncontrolled passion of Shakespeare’s Romeo and Juliet (through August 7) fits nicely with the venue’s hot inland summer. While the Montague and Capulet families struggle with new love, The Real Thing (through July 31) by Tom Stoppard takes a stab at lasting love. The Tony Award-winning play within a play examines the role loyalty, betrayal, and crudités serve in keeping a couple together. With a pair of blankets and glasses of wine, you can enjoy the bard à la fresco — full of life, free of homework.

4590 Tesla Rd.
925-456-2505
livermoreshakes.org

Hamlet…

Capt. Picard and The Doctor battling wits to a tragic conclusion? No, it’s not fan fiction; it’s Shakespeare. Sir Patrick Stewart (Star Trek: The Next Generation) and David Tennant (Doctor Who) star in the film adaptation of the Royal Shakespeare Co.’s 2008 staging of Shakespeare’s most famous drama. Tennant takes on the titular character and Stewart reprises his Laurence Olivier Award-winning role of Claudius. Unlike the pensive Kenneth Branagh or a brooding Ethan Hawke, Tennant brings a manic insanity to the prince of Denmark’s film credits. Tennant’s opening monologue is a little too dramatic, but he quickly evens out and conveys a character relishing on the edge of losing control. On the other hand, Stewart is a genius from start to finish. It’s obvious from his delivery that he’s not only fluent in Elizabethan, it’s his native tongue. Asides to the camera, blocking, and the set, though beautiful in its black-and-white contrast, are clearly drawn from the theatrical stage. This isn’t distracting, but the modern touches (occasional odd costuming and camera effects) can be. Iconic sci-fi actors and Shakespeare may seem as mismatched as Klingons and Daleks but for a Time Lord and an Enterprise captain, there’s no doubt the play’s the thing.

A Midsummer Night’s Preview…

DURING the Great Depression, the entertainment industry offered up escapist enjoyment for the masses eager to forget their woes. Economists are too busy pulling the wool down past their foreheads to mutter the “D” word, but we can see history repeating itself–onstage, anyway. This summer the theaters are all about lighthearted laughs and tall tales, with a touch of art-imitating-life backstabbing. The one place that exemplifies escapism is over the rainbow. Cabrillo Stage brings Santa Cruz the gift of The Wizard of Oz with all the songs that made the film adaptation so popular. Dorothy and the gang travel the Yellow Brick Road with a 20-piece orchestra from July 17 through Aug. 16. Before setting off to see the wizard, Cabrillo Stage goes in search of a more elusive goal–the key to a successful relationship. The musical comedy I Love You, You’re Perfect, Now Change runs June 26 through July 26 and heralds the return of director Andrew Ceglio from last season’s Forever Plaid. Cabrillo Stage doesn’t corner the market on whimsical worlds and fantastical relationships this season. Shakespeare Santa Cruz is reprising the puckish A Midsummer Night’s Dream. From July 22 through Aug. 30, the Festival Glen will transform into a decimated forest teeming with fairies and lovers growing out of the ashes. As new life and passion grows from Midsummer’s postwar ruins, UCSC’s Mainstage takes theater back to its basics with Shipwrecked! An Entertainment–The Amazing Adventures of Louis de Rougemont (As Told by Himself.) Aided by simple theatrical effects, de Rougemont takes the audience on a fantastical journey that weaves a wonderful yarn of globetrotting storytelling. Eric Ting, recently named one of the top 25 directors to watch by American Theatre Magazine, directs this adjective-filled tall tale from July 21 through Aug. 30. Adjectives may be a great way to fluff up a fable, but they can also buy you precious seconds as you create your next line. Improvfest returns to the Actors’ Theatre on Fridays and Saturdays between July 10 and Aug. 1. For theater with a little more structure, but not quite a full production, the Actors’ Theatre also hosts regular cold readings. Works in progress and staged readings receive their spotlight with a rotating series of directors and themes throughout the summer months and beyond. As Dorothy taught us, we all have to go home at some point. Still, when it’s time to leave the comedy behind, the summer theater season gives us plenty of reasons not to click our heels together quite yet. Pacific Repertory Theatre on the Monterey Peninsula brings to life the century-old sketches of Arthur Schnitzler’s La Ronde. Reworked by David Hare, The Blue Room brings the frank sexual politics of the past into stark realization in the present. Playing May 28 through July 18, the interwoven stories of sexual dynamics are sure to ignite the foggy night sky. While The Blue Room hits the bedroom, Shakespeare Santa Cruz’s third offering of the season hits a little closer to home–perhaps closer than one might think. In Julius Caesar, SSC has chosen a classical story of political power wrangling, imperial impulses and underhanded backstabbing. Budget constraints are making for a shorter season, but SSC’s summer offerings lack nothing in potency.

Nickel and Dimed…

While CNN and the Wall Street Journal tackle bankrupt banks and crashing CEOs, Pear Avenue Theatre takes a microscopic look at America’s financial hardships in its latest production, Nickel and Dimed. Based on the book by undercover journalist Barbara Ehrenreich, the story follows Ehrenreich’s attempt to make a living on minimum wage. In 2001, Ehrenreich’s book helped to open America’s eyes to the major differences between minimum wages and living wages. The play, by Joan Holden, succeeds in making many of the same points, but most of the heart and humanity is lost in the format transition.

In translating the journalistic, nonfiction account of the hardships of living on minimum wage, Holden chooses to rely heavily on the theatrical technique of breaking the fourth wall. While it can be an effective maneuver in actively engaging an audience, when used in excess a play can suffer. As Barbara (Patricia Tyler) wrestles with grunt work, she delivers almost half of her lines directly to the audience. At this frequency, the play begins to feel like a workplace-sensitivity seminar that uses skits to hold the audience’s attention between bullet points. At no point is this more obvious than when the entire cast stops the show, breaks character and raises the house lights to ask the audience how much they pay their cleaning staff. Therein lies the major problem of relying on the destruction of the fourth wall to drive Nickel and Dimed.

Holden very rarely allows the characters’ emotions and decisions to comment on poverty, decency and illogical wage laws. Speeches intoned directly to the audience about these issues regularly interrupt the acting. Director Ann Kuchins does help some of the minor characters free themselves from Holden’s script, but it’s too little and too late. With the exception of Tyler’s sole role and stage manager Johanna Ruefli’s dual roles, there are 36 characters split between the remaining five actors. For the most part the actors all do a good job of distinguishing their repertoire of characters, though a “Where are they now?” wrap-up at the end reveals some forgettable roles.

Standing out from the ensemble are Kendra Owens and Elizabeth Coy. Their characters are the only ones allowed to show the humanity and heart that should have driven the play. Owens plays both a motel maid named Carlie and Barbara’s born-again, Mall-mart co-worker, Melissa. These two characters struggle with little resources but each find unique ways to celebrate and, in the only touching scene of the show, share what little they have. One of Coy’s characters, Holly, exemplifies the strength and determination born solely from someone fighting an uphill battle.

Over the course of 2-1/2 hours, around 40 set changes show the difficult migration from book to stage. However, this obstacle is one unequivocally conquered thanks to an ingenious set design by Norm Beamer. Four chairs and a small table supplement a great multitasking set piece that morphs into a kitchen counter, bathroom, Mall-mart display stand and a chef’s window. Amounting to nothing more than spare change, the rare moments of great acting can’t save Ehrenreich’s work from Holden’s script. In the end, it’s the audience that’s left nickel and dimed.

NICKEL AND DIMED, plays Thursday–Saturday at 8pm and Sunday at 2pm through Nov. 9 at the Pear Avenue Theatre, 1220 Pear Ave., Unit K, Mountain View. Tickets are $12–$30. (650.254.1148)

Splitting Infinity…

LIKE AN EPIC “Will they, won’t they?” romance, science and religion continually skirt the edge of flirtation. The unlikely pairing has more in common than either side would like to admit. While science has faith in answers it may never be able to confirm, religion knows the answers without a need for confirmation. The intersection of these equally flawed approaches to life’s big questions is the center of discussion in San Jose Repertory Theatre’s new production, Splitting Infinity. From the moment you enter the theater, the set tells you that this production is going to aim for the stars. Making incredible use of the vertical expanse of the theater, the two-story set places the interior of a telescope above a university office. Whether intentional or not, scenic designer Robin Sanford Roberts uses the hanging lights and parterre to create a subtle extension of the telescope.

Unfortunately, as the show opens, the beautifully constructed exoskeleton of the telescope hinders the line of sight, and a metal pole obscures a majority of Christine Sage Behrens’ lines during the opening scene. Behrens, who plays lead character Leigh Sangold 27 years in the past, doesn’t help the situation by opening the show with a weak delivery. It is obvious that Behrens has the talent and the ability necessary to command the role, but her confidence is lacking. On the other side of the coin, Amy Resnick, who plays the scientist in the present day, exudes both the confidence and the talent needed to control a character that has more kinetic energy than the stars she looks to for answers. A Nobel Prize–winning astrophysicist, Sangold is as stubborn in her scientific beliefs as her childhood friend Saul Lieberman (Robert Yacko, with Kevin Dedes as young Saul) is in his devotion to Judaism. As a rabbi, Lieberman embodies the faith of religion while Sangold holds the knowledge of science. Lieberman’s love for Sangold, and her attempt to use science to disprove the existence of God, provide a great back and forth that tests their relationship.

Playwright Jamie Pachino achieves a balance by respecting both sides of the argument; however, a lot of credit is also due to the director, Kirsten Brandt. With two hot-headed intellectuals in two time periods, Brandt also has to reign in a Christian Science mother (Cindy Goldfield) who is unaware of the effects her faith has had on her son, Robbie March (Chad Deverman). Goldfield’s restrained execution of her role brings compassion to a character that is hard to sympathize with in many ways. Yet, it’s Robbie March who is the most intriguing because of his dichotomy. His youth and energy that feeds Sangold is wrought from a place of death and inaction; at the same time, the backlash to his religious upbringing landed him in science’s and Sangold’s bed.

What this production succeeds in showing us is that it’s possible neither side has it right, yet both may be correct. As the present-day Lieberman points out, “The information we have is not enough. Have you ever tried to split infinity?” Charged with the task of metaphorically splitting infinity—taking their most unquantifiable truth and breaking it down to something we can grasp—this production holds religion and science responsible for their beliefs, showing it’s not the answer that’s important, it’s the questions we ask.

 

SPLITTING INFINITY, a San Jose Repertory Theatre production, plays Tuesday at 7:30pm, Wednesday–Saturday at 8pm, Saturday at 3pm and Sunday at 2pm through Nov. 9 at the Rep, 101 Paseo de San Antonio, San Jose. Tickets are $16–$61. (408.367.7255)