The Perfect Storm

The Farnsworth Invention at Lakewood Playhouse

Reviewed by Michael Dresdner

Photos: 

Top, from left: Dylan Twiner, Jacob Tice, Niclas R Olson

Bottom, from left: Niclas R Olson, Jacob Tice, Dylan Twiner, Matt Garry, Jeffery Weaver

Photos by Dean Lapin

When everything works perfectly in theatre, when an outstanding play meets an even better cast and production crew, you come away feeling breathless, exhilarated and moved. That’s what I felt at the end of “The Farnsworth Invention” at Lakewood Playhouse. That and more.

Forget the blurb you read about the play. Never mind what seems like an uninteresting topic (inventing television?), because it is much more than it seems. Instead, think of the best story you’ve ever been told unfolding in live action right before your eyes.  

Written by Aaron Sorkin (“The West Wing,” “A Few Good Men”), it is the fictionalized roman a clef of the contentious relationship between RCA’s legendary president, David Sarnoff (Gabriel McClelland), and the reputed inventor of television, Philo Farnsworth (Niclas R. Olson), along with a huge cast of others who carom into and out of their story.

What it’s really about though, is people. Fast paced, exciting, and chock full of fascinating facts, it peels back the curtain on wide swath of compelling individuals and their interpersonal clashes.

To call this an outstanding production is an understatement. It may well be the best overall offering of many outstanding plays Lakewood can claim. Credit for it goes to more than just the usual suspects.

First, there are McClelland and Olson, top notch actors who were both absolutely perfect in their roles. But even as good as they were, their work was amplified by a huge and well oiled ensemble cast that was every bit as outstanding. Twenty actors (sadly, too many to name with their deserved accolades in this small space) played over 70 different characters, smoothly appearing, disappearing, and meshing perfectly with one another to create a thoroughly convincing range of persons and personalities. This was, in short, an amazing cast doing as superb a job as you can imagine.

Direction by John Munn was ideal; crisp, fast paced, and fluid, but never confusing, with enough movement to make this two hour story simply whiz by. Subtle lighting changes (Deborah Armstrong-Evans) predicted, followed and intensified the rapid fire mood and attitude sweeps taking place in front of us. Props (Jeffrey Weaver) were creative and appropriate; never distracting, but spot on.

A very simple stage (Brett Carr) used two, movable, bi-level arcs that, by their position, indicated repeat locations along with a myriad of other changing ones, and offered a sense of movement in time and place. It let the actors, who were almost never still and certainly never static, add realistic movement to a very human discourse.

And costumes? Good heavens, what a tour de force. Alex Lewington fitted each character with a period-accurate wardrobe, right down to the perfect hats and shoes on the women, which changed, just as we do in real life, for each different day presented. She’s truly the Edith Head of the South Sound.

Even the backstage crew, amplified by the actors themselves, smoothly and unobtrusively moved sets and props all while the fast paced action and dialogue continued around them. This, in turn, means kudos are surely due the stage manager (Nathaniel Quinn) who deftly choreographed what had to have been a staggering number of light and sound cues, all executed with pinpoint timing.

I won’t bother telling you the story; they do that better than I could. Nor will I waste any more time on praise, though they all deserve much more. Instead, I’ll just say this: Change your schedule, rearrange your life, but do what you must to see this play.

As Monk says, you’ll thank me later.

The Farnsworth Invention

March 2nd through March 25^th, 2012

Lakewood Playhouse

http://www.lakewoodplayhouse.org/

When everything works perfectly in theatre, when an outstanding play meets an even better cast and production crew, you come away feeling breathless, exhilarated and moved. That’s what I felt at the end of “The Farnsworth Invention” at Lakewood Playhouse. That and more.

Forget the blurb you read about the play. Never mind what seems like an uninteresting topic (inventing television?), because it is much more than it seems. Instead, think of the best story you’ve ever been told unfolding in live action right before your eyes.  

Written by Aaron Sorkin (“The West Wing,” “A Few Good Men”), it is the fictionalized roman a clef of the contentious relationship between RCA’s legendary president, David Sarnoff (Gabriel McClelland), and the reputed inventor of television, Philo Farnsworth (Niclas R. Olson), along with a huge cast of others who carom into and out of their story.

What it’s really about though, is people. Fast paced, exciting, and chock full of fascinating facts, it peels back the curtain on wide swath of compelling individuals and their interpersonal clashes.

To call this an outstanding production is an understatement. It may well be the best overall offering of many outstanding plays Lakewood can claim. Credit for it goes to more than just the usual suspects.

First, there are McClelland and Olson, top notch actors who were both absolutely perfect in their roles. But even as good as they were, their work was amplified by a huge and well oiled ensemble cast that was every bit as outstanding. Twenty actors (sadly, too many to name with their deserved accolades in this small space) played over 70 different characters, smoothly appearing, disappearing, and meshing perfectly with one another to create a thoroughly convincing range of persons and personalities. This was, in short, an amazing cast doing as superb a job as you can imagine.

Direction by John Munn was ideal; crisp, fast paced, and fluid, but never confusing, with enough movement to make this two hour story simply whiz by. Subtle lighting changes (Deborah Armstrong-Evans) predicted, followed and intensified the rapid fire mood and attitude sweeps taking place in front of us. Props (Jeffrey Weaver) were creative and appropriate; never distracting, but spot on.

A very simple stage (Brett Carr) used two, movable, bi-level arcs that, by their position, indicated repeat locations along with a myriad of other changing ones, and offered a sense of movement in time and place. It let the actors, who were almost never still and certainly never static, add realistic movement to a very human discourse.

And costumes? Good heavens, what a tour de force. Alex Lewington fitted each character with a period-accurate wardrobe, right down to the perfect hats and shoes on the women, which changed, just as we do in real life, for each different day presented. She’s truly the Edith Head of the South Sound.

Even the backstage crew, amplified by the actors themselves, smoothly and unobtrusively moved sets and props all while the fast paced action and dialogue continued around them. This, in turn, means kudos are surely due the stage manager (Nathaniel Quinn) who deftly choreographed what had to have been a staggering number of light and sound cues, all executed with pinpoint timing.

I won’t bother telling you the story; they do that better than I could. Nor will I waste any more time on praise, though they all deserve much more. Instead, I’ll just say this: Change your schedule, rearrange your life, but do what you must to see this play.

As Monk says, you’ll thank me later.

The Farnsworth Invention

March 2nd through March 25^th, 2012

Lakewood Playhouse

http://www.lakewoodplayhouse.org/

Gathering Together: Bodine, Adriene Cruz and Alonzo Davis at The Evergreen State College

Three artists, many materials

By by Alec Clayton

The Weekly Volcano

on February 29, 2012

"Gathering Together:" From top, Alonzo Davis’ “Precarious Container Series,” Adriene Cruz’s “Sun Say,” and Danielle Bodine’s “Pacific Journey.” Courtesy TESC

The art of Danielle Bodine, Adriene Cruz and Alonzo Davis at The Evergreen State College - exhibited under the name Gathering Together - is a montage of many different styles and materials that contrast and complement one another.

I could almost hear rattles and drums and the chirping of birds upon stepping into the gallery, and I immediately gravitated toward a powerful little sculpture called "Hybred Podacus" that I wish I could have in my home. More on that later.

All three artists enjoy national prominence, but I was unaware of them until TESC brought them to Olympia.

Bodine is a fiber artist originally from Seattle now living on Whidbey Island. Cruz is a native of Harlem in New York City, now living in Portland. Davis, is a Southern Californian who attributes his art to influences from world travel. "The magic of the Southwest United States, Brazil, Haiti and West Africa has penetrated my work. ... and the colors and rhythms of the Pacific Rim continue to infiltrate."

The three artists combine varied materials and techniques including weaving, stitching, tying, painting, collaging, sculpting and more, with natural and manufactured materials to create artworks both traditional and innovative with a strong sense of connection to the earth and to peoples of many cultures.

Bodine's sculptural works in painted and woven fibers had a powerful impact on me. A series of three standing sculptures titled "Tell One I, II and III" are particularly mesmerizing. Tall and thin like twisting tree trunks, they are made of woven materials painted in dull tones of orange-brown and green. Each freestanding spire or column has an opening near the top like a knothole or a nest for birds or squirrels. Woven and painted objects reside inside of these little openings. One in particular looks like some kind of owl-like creature peering out. There is an ominous and mysterious look to these works.

Other outstanding pieces by Bodine are "Eastern Flight," "Jean's Song" and "Sea Dance," three wall-hanging pieces that are similar to the "Tell One" series but much smaller with incised drawings on the surfaces of origami cranes, butterflies and fish. And that most intriguing little sculpture called "Hybred Podacus" that looks like an irregularly shaped canoe made out of a gourd with strange pod-like creatures riding in it.

Cruz's collages of fabric with mirrors, beads, shells and other materials celebrate the style and energy of Africa and South America with colorful patterns and images of African women. The women are dressed in elaborately patterned gowns and headgear. Cruz's organic patterns are intricate, and his color choices are excellent.

Davis is showing a large series of works from his "Precarious Container" series. Each work is a kind of box or frame made of bamboo that is approximate two-feet square and four or five inches in depth. The boxes frame flat collages of colorful material and sheets of what appears to be paper with Asian writing on it. The bamboo shoots both frame or contain the collage elements and cross over the material in horizontal, vertical and diagonal lines, thus becoming a part of the design as well as a framing device. The collages and the bamboo lines are contrasting elements that mirror one another in shape and direction in some places and contrast in others. There is a delicate balance between contrast and harmony. By far the best of these is one that hangs flat (that is, parallel to the floor) from the ceiling about three feet above the floor. The position and horizontal orientation of this piece seems to be perfect for the shapes within.

Gathering Together
Through March 13, Monday-Thursday, 10 a.m. to 5 p.m., The Evergreen State College, 2700 Evergreen Parkway NW, Library 1st floor, Olympia

Shakespeare meets café au lait and beignet

"Much Ado About Nothing" at Olympia Little Theatre

reviewed by

Michael Dresdner

Pictured: top, left to right: Brian Jansen as Benedick, Ken Luce as Claudio, Bobby Brown as Don Pedro

Brian Jansen as Benedick, Kathryn Philbrook as Beatrice

Leah Sitzes as Hero, Ken Luce as Claudio

Photos courtesy Olympia Little Theatre

You’ve heard it before; Shakespeare can be a challenge to the audience because the language he wrote is not even close to how we speak today. Still, the Olympia Little Theatre, a black box tucked away in the NE corner of our state capitol, took on the challenge, and the results were laudable.

If you are worried about getting lost in archaic prose, relax; they’ve got you covered. When Shakespeare is done well, the actors understand the Bard’s words so well that even without translating them into modern English they can, by their actions, expressions and delivery, convey exactly what he was saying to you, the audience. This cast did that superbly, from top to bottom.

To make the comedy more comedic, more familiar, and just plain more interesting, director Terence Artz chose to set the play in 1945 (remember, the story begins with the protagonists arriving home from war) and in, of all places, New Orleans. That gave him a passel of interesting choices for the characters. For instance, the host, Leonato (Marvin Young), becomes an elegant southern gentleman, while his brother Antonio morphs into a southern belle, a sister named Antonia (Maureen O’Neil).  

Much Ado About Nothing is a double love story. Claudio (Ken Luce) loves Hero (Leah Sitzes) and vice versa, but both manage to feel betrayed thanks to the lies and machinations of Don John (Jeff Hirschberg), the evil, deposed brother of the stalwart senior officer Don Pedro (Bobby Brown). Meanwhile, Hero’s cousin Beatrice (Kathryn Philbrook) and Claudio’s comrade in arms Benedick (Brian Jansen), carry on a love/hate relationship fueled by witty, acerbic puns, word play and insulting banter. But it’s a comedy, so everyone ends up happy and together by the end.

Traditionally, Beatrice and Benedick make or break Much Ado, since their interchange is at the heart of the verbal comedy. In this case, those two definitely made it.

From the second Philbrook’s Beatrice saunters on stage and opens her mouth you know exactly who she is; a smart, sassy, sexy, self-assured woman who would these days be called an upper hand feminist. She was absolutely endearing to watch and listen to, with facial and body English so clear it would have conveyed her message even without words. It was a flawless performance. Jansen as Benedick had me worried, playing the first scene a bit over the top, but he quickly settled in and turned in an equally outstanding and complex performance. Their chemistry and synergy made them a delight to watch together.

I won’t go into the whole cast, as it was a large one, other than to say the entire ensemble, to a person, was excellent. However, indulge me to highlight just a few more actors if you will.

Hirschberg created an unusually believable Don John with a dark, understated, but realistic mien that made him far better than the usual two-dimensional character most productions offer. Like a genuine con man, he made us believe his entreaties to Claudio and his brother Pedro even though we knew of his nefarious plan. Brown’s Don Pedro was an equally well crafted character, bringing excellent clarity (he’s saddled with a lot of the exposition, and did it superbly) along with a very military bearing. He was so likeable that you understood his men’s loyalty.

Perhaps the most unusual characterizations, and certainly the funniest shtick, belonged to the team of Dogberry (Alyssa McElfresh) and “his” sidekick Verges (Priscilla Zai). Dogberry is a cowardly, pompous constable whose constant malapropisms expose a need to seem more educated. In what may have been the most daring and successful director’s change, this Dogberry is played by a woman (McElfresh), playing a man, playing a Southern sheriff who is more spongy than tough and more comic than stern.

She arrives and leaves on the back of a tricycle driven by Verges, a hangdog, taciturn sidekick who spends her time focusing on crossword puzzles and occasionally interjecting very short, astute comments. Zai played Verges by physically and verbally channeling Tex Avery’s cartoon character Droopy Dog, right down to the voice, mannerisms and superior attitude of that beloved character. Both actors were absolutely delightful, entertaining, and quite funny. 

As for the production values, the lighting and set were both very adequate and nonintrusive, which in Shakespeare is a good thing. Costumes were uneven and less than stellar, but again, when good Shakespeare is before you, that’s a minor issue. The one thing I wish had been better was the blocking; several times lines of sight were obscured from where we sat, and I suspect from other seats as well.

If you go (and you definitely should) wear light clothing. The theater is actually as hot as New Orleans, and they know it. They are currently raising funds to add much needed air conditioning, and they’ll ask you to contribute. Come to think of it, maybe leaving the room that hot was a clever move.

Much Ado About Nothing

Feb. 24^th through March 18^th 2012

Olympia Little Theatre

http://www.olympialittletheater.org/

Murder and laughter

TAO presents “A Bucket of Blood”

Olympia’s most outlandish theater troupe is at it again. Theater Artists Olympia is doing an adaptation of Roger Corman’s cult horror film “A Bucket of Blood.”

 

Sam Cori, Morgan Picton and Mark Alford as Walter Paisley 

in "A Bucket of Blood" - photo by Dave Beacham

Olympia’s ubiquitous theater superwoman Pug Bujeaud adapted it from the film (thanks, Molly Gilmore
 for the term “ubiquitous” in relation to this production). She — Bujeaud, not Gilmore — writes in the program notes about how it came to pass:

A little over a year ago I got a phone call. “Mom, I just watched this old Roger Corman movie, it’s really good… and it’s public domain.” I could hear the smile in her voice. “We need to do this.”

I love all kinds of films, but I have a special place in my heart for a B movie that rises above it’s constrictions and becomes something amazing. (Great analogy for TAO itself don’t ya think?) And on first viewing I knew I agreed with my daughter Sarah and there was a big plus, it was set in the ‘50s, and I just plain love the beats.

Adapting a film to the stage is not easy — especially when the stage show has to be done on an extremely limited budget — and this was director Bujeaud’s first attempt at writing a film adaptation. She did an admirable job, and so did her cast and crew. This play has a large set that “revolves” and moves, and elaborate props including life-size sculptures of animals and people. It begs for a big-budget production, even though the film was low-budget; and TAO, although professional level in their skills, money they have to spend on a show is extremely limited.

It is a bloody, creepy lampoon of a 1950s horror film. (Corman was famous for such B horror flicks as “Swamp Women” and House

 “House of Usher,” and he lampooned his own work in “Bucket of Blood” and “The Little Shop of Horrors.”) Laughs are guaranteed.

The cast is large, with 16 actors. Mark Alford is the main character, Walter Paisley, a nerdy young busboy who longs to be a famous artist. He is outstanding. Alford directed TAO’s previous production, “The Hound of the Baskervilles.” This play marks the first time I’ve seen him act, and believe-you-me, he is a major talent. His comic timing is precise (you can also credit Bujeaud’s directing for some of this), and his ability to suddenly and believably change from a nervous kid to an obnoxiously proud artist to an insane stone cold killer is amazing.

Outstanding supporting actors include Ryan Holmberg, who recently wowed audiences in Harlequin’s “The Love List,” as Maxwell Brock/Frankie — the quintessential beat poet, Kerouac with an attitude problem; and Sam Cori as the artist-as-hero worshipping Carla. A recent Evergreen State College graduate, this is Cori’s first performance in a TAO production. Previously she’s been seen mostly in college productions and shows with children’s theaters. Cori is an actor to watch. She’s also a great singer. Her styling on “Fever” is wonderful. (This is not a musical, but it takes place in a coffee shop with a stage and there are two musical performances, the one by Cori and a folk song by Marko Bujeaud.)

Heather Christopher, Bonnie Vandver and Tom Sanders are fun to watch in brief but critical roles as, respectively, a beatnik sexpot, and frumpy landlady and a cop. Christine Goode and James Bass add color as spaced-out beats. Goode is especially fun to watch when she flirts outrageously with Walter, a scene reminiscent of her sexy comic antics as LiAnne the horse in “Cannibal! The Musical.”

Jodi Hooper has one great scene toward the end as Dorthea Popavich the art collector’s wife.

Seeing the plaster statues of animals and people is worth the price of admission. They are like sculptures by the great Pop artist George Segal. Kudos to Michael Christopher, Heather Cantrell and Chris Cantrell for outstanding work on these statues.

When: Thursday through Sundays through Feb. 25 and March 1-3 at 7:30 p.m., March 4 at 2 p.m.

Where: The Eagles Club Underground, 805 Fourth Ave. E., Olympia

Tickets: $12

More information: olytheater.com or brownpapertickets.com