"Vigil" a hilarious, touching romp

Who'd a thunk waiting for your auntie to kick the bucket could be so funny? The American Conservatory Theater production of Vigil, written and directed by Morris Panych, is a riot from start to almost finish, with a touching, teary ending.

Olympia Dukakis and Marco Barricelli
star in Vigil at American Conservatory
Theater in San Francisco. We were sitting
about this close. Photo by Kevin Berne.

My Sweetie, the official scorer, scored us front-row seats for the show at San Francisco's marvelous Geary Theater, so we ended up about five feet away from Olympia Dukakis and Marco Barricelli, both of whom turned in marvelous performances in this gut-busting script.

Barricelli is Kemp, and Dukakis is Grace, his dying aunt who has summoned him to take care of her, though they've not seen each other in some 30 years. The dying takes a lot longer than expected. Over the course of a year Kemp gets to utter out loud all of the tactless, horrible things that people in these sorts of situations are thinking. "Let's not talk about anything depressing, alright?... Do you want to be cremated?" Grace, on the other hand, utters next to nothing; Dukakis has just one line -- "Merry Christmas" -- in the entire first act, but says more with body language, gestures, and facial expressions than a lot of guys who have played Hamlet. Grace has maybe a dozen lines in the whole show. It's hard to get a word in edgewise with Kemp's constant ranting about his horrible childhood and impatience that his aunt get with it and croak, already.

At one point Kemp builds a "suicide machine," a classic Rube Goldberg device that Grace can use if she wants to, that gives several good options for ending it all, including a bonk on the head with a cast-iron frying pan. You knew Kemp would be hoist with his own petard, but it's still a hoot when it happens. The other big punch line of the script perhaps should have been seen coming down Geary Street, but surprised us. We won't give it away!

Dukakis, of course, is well known. Barricelli perhaps not so much, though he's artistic director of Shakespeare Santa Cruz and spent eight seasons with the Oregon Shakespeare Festival. We were fortunate to see him there in the title role of Cyrano de Bergerac in 2006. That predates the Weisenheimer blog, but it was our favorite production of that season in Ashland. He's just amazing as Kemp, a total lout of a character with minimal social skills. What a virtuoso performance.

Grace's house is a jumbled, attic-like collection of junk and crazy, off-kilter windows and doors. The set and costumes were designed by Ken MacDonald, partner with writer/director Panych in life as well as in 50-plus shows.

Our one quibble is with the intermission. We know, theater companies need to bring a little revenue in with refreshments, but sometimes they sacrifice the art to get there. Vigil ran about two hours with an intermission. It could easily have been done in 90 or 100 minutes and kept its momentum going. We may have some posts devoted to intermissions in the coming weeks and months.

If you're in the Bay Area this show is a must-see! It runs through April 18.

"Cat" sizzles at OSF

Stephanie Beatriz as Maggie on
the OSF poster for Cat on a Hot
Tin Roof.

Tennessee Williams' Cat on a Hot Tin Roof has to rank among the greatest plays in the English language, and the current production at Oregon Shakespeare Festival, directed by Christopher Liam Moore, is absolutely dazzling.

The show features a Seattle favorite, Michael Winters, who was nominated for a best-actor Wisey last year for his portrayal of Prospero in The Tempest at Seattle Shakespeare Company. We were thrilled to learn Winters would play Big Daddy, then disappointed to hear that Cat was only running through July 4, and we typically visit Ashland in September. But, my Sweetie, the official scorer, has a business trip to San Francisco, Ashland is conveniently located about halfway there, and so a side trip was in order.

Winters and Big Daddy don't even appear until the second act, but the wait is worth it. He's incredible in a kick-ass role. Williams wrote him bigger than life, master of "28 thousand acres of the richest land this side of the valley Nile," and Winters is up to the task. A virtuoso performance by a great talent.

Stephanie Beatriz was hot and in charge as Maggie the Cat. We gave Beatriz a shout-out for her performance as Catherine in A View from the Bridge at OSF in 2008. She was really superb and more than a match for Sister Woman Mae (Kate Mulligan), Big Mama (Catherine E. Coulson), and Gooper (Rex Young), all of whom were marvelous.

Big Daddy (Michael Winters)
insists that Brick (Danforth
Comins) tell him why he
drinks. OSF photo by
Jenny Graham.

Perhaps the best acting was done by Danforth Comins as Brick, who had to look bored and disinterested for about 45 minutes in the first act while smokin' hot Maggie pranced around the stage in the wispiest of slips, setting the stage for the fun to come. Man! Liz who? My Sweetie had some quibbles with Maggie's hair. Frankly, I didn't notice!

A great deal of credit goes to director Moore and scenic designer Christopher Acebo for a fabulous set. It was simple: the bed, a nightstand, and Brick's liquor cabinet. There were no walls, just some wispy curtains in a circle around the stage, emphasizing the challenging lack of privacy in Brick and Maggie's world. In scene two they flipped around the furniture so that the set was a mirror image of what it was in scene one. Lots of reflection in that second scene. In the third scene, the bed was moved to a more prominent position, and that's where the play ends. Moore also used a 1974 version of the script, to which Williams added some more zesty language and more details about Brick's relationship with Skipper.

What a marvelous show in all regards. Get thee to Ashland and see it if you can.

Sunlight at ArtsWest leaves a few things in the dark

West Seattle's ArtsWest theater purports to produce "artistic events so fiercely compelling that they require conversation." It's a bit of an audacious claim from a company that has been doing the goofy Christmas musical Plaid Tidings the last few holiday seasons. But ArtWest's recent production of Sunlight by Sharr White, directed by Vanessa Miller, accomplished the mission.

Sunlight is the story of a family torn apart in the post 9/11 world. The protagonists are a liberal college president, the conservative dean of the law school who also happens to be his son-in-law, the president's daughter/dean's wife, and the president's long-time assistant.

Director Miller coaxes marvelous performances out of all four actors. John Wray is hilariously fussy and bossy and pompous as the president, Matthew Gibbon, who has built this college out of a swamp. John Ulman is Vincent, his former star pupil who, as head of the law school, helped the government develop "guidelines" under which torture is acceptable--guidelines that led to the brutal death of a 15-year-old boy. Caught in between is Peggy Gannon, fabulous as Charlotte, Matthew's daughter, lawyer, and advisor, and Vincent's about-to-be estranged wife. Karen Nelson was incredible as Maryanne, long-time assistant to Matthew and something of a companion since the death of his wife several years previous.

While the performances were wonderful, the play has a few holes in it. The title refers to the quote from former Supreme Court Justice Louis Brandeis, who opined that sunlight is the best disinfectant. But this play takes place at night, and I don't think all the cards are on the table. Vincent's main argument in support of torture is that Charlotte worked in the World Trade Center, he didn't know if she was OK that morning, and therefore torture is always justified if we think we can root out a threat. It's too simple, and not the real reason governments take part in the practice. Neither is it believable that Matthew would completely trash his dean's office, then trip him and start a fistfight in his living room. Even if he had been drinking.

But props to White for raising the question. I expect we'll be seeing plays about torture for a while now. Last year's Wisey-Award-winning best play, Equivocation, also included torture among its many plot lines. Creepily, in Equivocation Sir Robert Cecil was a big supporter of the practice, and suggested that it might even be considered a plus on the résumé by the time the 21st Century rolls around. And good for ArtsWest to doing some interesting and challenging new work.

Two Scalawags of Verona

We were a tiny bit skeptical when we heard Seattle Shakespeare Company was going to set its production of The Two Gentlemen of Verona in modern California. But director Marcus Goodwin's idea really worked, and a marvelous cast of local favorites made Two Gents an entertaining evening of theater on my Sweetie, the official scorer's birthday.

Hana Lass, at right, threatens to kick
Samie Detzer's ass. Photo: Erik Stuhaug.

They didn't lean on the California thing too much, but did make nice use of cell phones and cameras with pictures projected on the back wall of the set. They were also able to mine for new jokes this way, coming up, for example, with a funny visual gag for when Proteus (Daniel Brockley) gives a ring to his love, Julia (Hana Lass). We won't give it away, but this physical quip probably wouldn't have made much sense to the Bard's audiences.

Chris Ensweiler and "Russ"
Photo: Erik Stuhaug.

Speaking of the marvelous cast, it starts with Lass, who, as regular readers (are there any?) of WSW know, kicks ass. She also looks great with a soul patch. Connor Toms (Valentine) is a fine young talent and he and Lass have recently announced their engagement. Toms, David Goldstein (Speed), Brockley, and Chris Ensweiler (Lance) have a great deal of fun with the comic scenes. Ensweiler is an especially gifted comic and a regular at Seattle Shakes, where we've recently see him as Truffaldino in The Servant of Two Masters (for which he received a Wisey nomination for Best Clown) and as Feste in Twelfth Night. Ensweiler's Lance was a stoner/surfer/DJ dude who also had the challenging task of having a dog as co-star; Russ was great as "Crab."

The Two Gentlemen of Verona can be a bit challenging because, in the end, Proteus and Valentine turn out to be a couple of first-rate schmucks. Thus, Goodwin breaks form and stays away from a lives-happily-ever-after ending. It was refreshing and a great punch line to a good show.

Plenty of Whimsy at latest Brick House Gallery show

Proprietor Peter MacDonald writes that "Whimsy," the current show at his Brick House Gallery in Tacoma, was "conceived to make you smile" and to "feel a whole lot better about this crazy world we live in." MacDonald's whimsical show hits the mark, featuring the work of 18 artists, local and from up and down the coast.

Weisenheimer's favorite piece in the show is the one pictured at right, Galen Turner's sculpture "Funk-Bot-Three-80." It's described as a "deconstructed robotic kid toy with dead stuff, neon halo, and motion sensor." What's more, it dances to the Young MC tune "Bust a Move." We also loved Pat Schuman's bright, colorful paintings depicting junk drawers and cluttered refrigerators. Somewhat more disturbing was a painting by Alan S. Hopkins called, "Facts, Fantasies, and Fictions." It shows us a North Pole awash in melted ice cap, with Santa stranded on the rooftop awaiting rescue, next Christmas turned into mere flotsam among the walruses and polar bears.

Art lovers with a sweet tooth would appreciate a triptych by Judy Gilbert featuring candy corn, licorice ropes, and Smarties. Cathy Fields contributed a marvelous painting called "An Unlikely Parade." The marchers include monkeys, a tiger, a two-headed juggler, harem girls, a yak, and snake handlers. Monica Gonzalez has several jewelry pieces in the show, made of wire and various washers. And, had it not been already snapped up, Weisenheimer would have purchased Ellen Miffitt's drawing "Catbotage," of a naughty kitty shredding the toilet paper roll. My Sweetie, the official scorer, has a birthday coming up, and she thinks it's pretty cute when our cat does that!

Local photographer Steve Russell has a great shot of a T-Rex menacing the bridge of Glass in Tacoma. I bet he had to wait a long time for that shot! Last but not least, next to the gallery door is Frank Terrill's "In Case of Emergency," pictured at left. Duct tape is a good fix for anything!

The Brick House Gallery is open on third Thursdays each month, and by appointment. You can see all of the pieces in Whimsy, as well as the artists' statements, on the gallery Web site.

"The Jammer" runs circles around all of those other Roller Derby plays

The performance space at Balagan Theatre is on the tiny side. At maximum they can cram about 100 seats in there, but that leaves a stage the size of a ping pong table. Yet already this season they've managed to have an all-male strip show and a circus at Balagan with plenty of room to spare.

Just as impressive is the current production of The Jammer by Rolin Jones, directed by Terri Weagant. Weagant and set designer Jen Butler fit a Roller Derby rink, the team bus, a cathedral, and an amusement park all onto the stage for this laugh riot of a show -- "The King Lear of Roller Derby plays." Though none of the actors is actually on skates, Weagant uses other wheeled devices and set pieces to create that skating sound in the rink, to amazing effect.

The Jammer is a familiar story, really. Boy thinks his life is Dullsville, so he hits the road for a big adventure. The adventure turns out to be not so hot, and boy learns there's no place like home.

Boy in this case is Jack Lovington, played with aplomb by Nick Edwards. Christie Nelson was a ball of fire as Lindy Batello, chain-cursing, hard-drinking cannonball of a Derby girl and Lovington's love interest on the circuit. Unfortunately for Jack, she's only interested because she's being paid by slimy team owner Lenny Ringle, played with great relish by Balagan regular Ashley Bagwell. Michael D. Blum tries to keep Jack on the straight and narrow as Father Kosciusko; in the end it works out. Versatile and talented Ray Tagavilla plays four parts, including the doctor who cures Jack of what Lindy gives him. That's Nelson and Edwards at left above in a photo by Andrea Huysing from the play's Facebook page.

The Jammer provides non-stop laughs and is a great night out at the theater. It runs at Balagan through April 3.

DISCLOSURE: Weisenheimer is chair of the board at Balagan, but it doesn't make me biased!

Mavis Staples testifies at Jazz Alley

If you don't go see Mavis Staples this weekend at Jazz Gospel/Blues Alley, you're out of your frickin' mind.

Mavis rocked the Alley on Friday night, and now I won't have to go to choich for a couple of years at least.

It was an incredible show: a music legend, a kick-ass band, and great stories about Martin Luther King, Jr. and Pops Staples. I'm here to tell you that Mavis has still got it. It's a little known fact that I've always wanted to be a Supreme, but now at least I've sung with Mavis. Sure, it was just backup vocals with the rest of the audience on "I'll Take You There," but I think this will launch my singing career.

Staples sang a number of other classics, including "Freedom Highway," "The Weight," "Why Am I Treated So Bad?", and "Wade in the Water." That's two great ones in a row for Jazz Alley.

BUT -- a note to the alley: BUY A FRICKIN' GROUND PLUG!! The Janiva Magness show last weekend was marred by an annoying hum in the sound system, and the same was even more pronounced during Friday night's show by Staples. Radio Shack has them, I'm just sure of it. It's a little preposterous that the great acts the Alley is bringing in should have to put up with less-than-perfect sound.