Why I Like Critics

Sure, since becoming a critic myself, my opinion toward critics is much more empathetic than it might have been a dozen years or so ago. And since becoming friends with several critics who I think are pretty nice (and talented and interesting) people, I have developed an outright affection toward many of them.

But beyond the personal aspects of it, I also like critics for two significant reasons. First, they can be incredibly entertaining and smart writers. Sometimes a critic finds a particularly clever turn of phrase or a distinctly insightful observation that both is fun to read but also enhances my enjoyment or understanding of the piece they are writing about.

Second, often critics put into words certain thoughts or perceptions that were rattling around in my brain but that I couldn’t quite find the right verbiage for. After seeing a play or movie or TV show, I like reading reviews and having those “Yes - exactly!” moments where a phrase I read encapsulates just what I was thinking.

I had that kind of moment re-reading Rich Griset’s review of Firehouse’s “Why Torture is Wrong and the People Who Love Them” this morning. I saw the show last night (and didn’t text even once during the production…) and, while the production had some things I liked, I didn’t come away particularly liking it. In particular, there was something that bugged me about the attitude toward women I sensed in the show (still feeling echoes of dislike for the “My Fair Lady” attitude). The way Mr. Griset put it was “Durang's use of violence against women as a shallow metaphor for the Sept. 11 terrorist attacks is more offensive than illuminating.” Yes – exactly! Beyond being a little uncomfortable with the aggression and disdain voiced toward women by the father character and Zamir, I don’t feel like it was effective in illustrating anything. How much more interesting and complex would the character of Zamir been if he had been just as shady and unknowable but also had an outright affection toward women?

But that point to another problem with the play IMHO: it isn’t about the interaction of characters but of caricatures. I loved Irene Ziegler’s portrayal of the theater-obsessed mom but even she was trapped in a strictly two-dimensional construct. I think Arash Mokhtar is probably an excellent actor but I didn’t get enough shadings from this play to really know for sure. And I felt the worst for supporting players Lisa Kotula, Steve Organ and Stephan Ryan who are all talented but weren’t even given 2 full dimensions to play in this show. I came away most impressed with Eva DeVirgilis who, as Griset says, is very likeable in her role. That may seem like faint praise but, amidst oddities in this show that tend to push viewers away rather than make them empathize with anyone, it’s actually an exceptional achievement.

Another “yes” moment for me in rereading the Style review was the characterization of the set. The whole turntable design is actually very impressive. But I agree Griset when he says, “While the setup works brilliantly for scenes such as the parent's living room and kitchen, the apartment scenes and the conclusion at Hooters are on the homely side.” I think of the depth that Slipek brought to sets like the one he did for “Something Intangible.” He was able to do great things with some of the turntable thirds, but others were pretty bland.

I most enjoyed the last ¼ of the show, the meta-comic aspects of the story when Felicity starts and stops the action. There was actually some clever stuff in there. Unfortunately, this part came after much that just didn’t work for me (Hildegard’s underwear? Why?).

Of course, Mr. Maupin and the Firehouse deserve kudos for bringing a fairly whacky – and potentially controversial – work to the local stage. I certainly appreciate the effort, just didn’t love the results.

Rosh Hashanah

Mr. Griset has added to the chorus praising “Cat on a Hot Tin Roof” with his review this week. Sycamore Rouge kicked off its season last weekend with the Langston Hughes-oriented joint, “Simply Heavenly,” that received a less than stellar assessment from Ms. Haubenstock.

The folks at Henley Street are initiating what sounds like an intriguing series of talk-backs this weekend and their “Merchant of Venice” is a great show to kick it off with. This is a show that almost demands conversation and processing. I really admire James Ricks and his company for choosing this show to produce and then really committing to a serious re-imagining of the work by placing it in a modern context.

My review in Style is going to be fairly short – once upon a time I would have had 500 to 600 words for a review. This one had to be trimmed to 350. It’s the sad reality of print journalism these days and particularly brutal when you are trying to cover any Shakespeare, let alone this Shakespeare. So I may talk about “Merchant” a couple of times in this space to flesh out some of my thoughts.

First off, it’s kind of astounding that the show will be running through the Jewish high holy days (Happy Rosh Hashanah, y’all!) The anti-Semitism in the play is bracing, there’s no getting around it. Mr. Ricks has said he has put the most clear anti-Semitic sentiments in the mouths of the lowest class characters, making the issue a bit more about class rather than overall cultural prejudice. I don’t know that this choice comes across so clearly, particularly in the modern context where, even though there are clearly class lines, we are told and taught that they don’t exist.

I also found the secondary characters laughing during Shylock’s “If you prick us, do we not bleed?” speech disconcerting. Beyond this being one of the more famous monologues in the canon, this speech is also a universal plea for understanding (and a little vengeance) on behalf of all victims of persecution. This seemed like part of the lower class idea, given that the snickerers were patrons at a bar, and as such was consistent in theory. But in practice, I simply didn’t like it.

However, on the flip side, there were many ways I thought the anti-Semitism issue was handled masterfully. Jeff Clevenger’s performance is exceptional. I saw his actions not at all as a rabid anti-Christian but as a battered individual, pushed by the last straw of his daughter’s elopement to try to exact brutal retribution against a world that had stolen his wife, employee, dignity, and finally, his daughter. Clevenger never lets you forget Shylock’s basic humanity.

Also, the infamous court scene had a significant change from the original text (unless I missed it somehow) in that Shylock was not forced to convert to Christianity, among all of the other indignities he is forced to submit to. Finally, there is the issue of Jessica. Her deportment at the play’s end is distinctly different from Jessicas I’ve seen in other productions. I won’t spoil this for you in case you haven’t seen it but it isn’t expected given her economic situation at the play’s end.

And, in the end, this is a play largely about economics, or the “commidification of relationships” as Mr. Ricks says in his director’s notes. As such, I think making Antonio into a female character is also a masterful change and one I may talk about further in another post.

But before I sign off and since I have “merchants” on my mind, I really am overdue in giving a shout out to the sponsors of the RTCC awards this year. We’ve really had a great stepping up of people in commercial ventures who are supporting the event. Among those who are helping us this year are Style Weekly magazine, which is giving us a bunch of advertising both online and in print as well as hosting the pre-event reception; 103.7 The River, a radio station guided by the fabulous Melissa Chase who has promised to put the word out about us this year; Gay RVA.com, which is also providing us with scads of online advertising; Popkin Tavern, which is hosting the pre-event reception this year; Carreras Jewelers, which of course donated the great raffle prize of a gorgeous diamond necklace; and the extremely talented Jay Paul who is once again donating his photographic services to help memorialize the event.

Given how many “merchants” we have on board this year (not to mention the non-profits also supporting us, which I will at some other point), I’m a little surprised at the somewhat anemic ticket sales so far. Are people holding out until the last couple of weeks? Or have the awards kind of run their course and the excitement has passed? I’m really curious.

Regardless, I’m still excited about the big night and, while I’ll be disappointed if fewer people come than last year, I’ll also have a better chance at going home with that little Carreras bauble…

1-2 Punch

I seldom have a clue what is going to get people talking. Apparently my “Casting Games” post on Wednesday struck a nerve of some kind because more than a dozen folks have chimed in with their thoughts. I love it when people are talking/writing because that means they care and/or think about theater and that’s the whole point of this thing here. (Update: you might want to check out Mr. Miller's recently-posted discussion about casting on the Barksdale blog.)

Style had two stories this week tangentially related to theater that you might have skipped over if you were only looking for theater reviews. One is this week’s cover story on the VCU library’s comic book collection – one of the largest in the country – that was written by the other Style theater reviewer, Rich Griset. The other is Ed Slipek’s architectural review of the still-relatively-new theater space that the Richmond Triangle Players has developed in Scott’s Addition. It’s an interesting piece, and not only because it’s twice as long as the typical Style theater review these days (no, I’m not bitter). This gives me the opportunity to point out that “[title of show]” has been extended until next weekend so hustle up and make reservations if you haven’t seen it yet.

(PS: Style also snuck in a quick story on the Conciliation Project’s latest production yesterday. Check out a preview of “Stolen Land” here.)

In other news, an eclectic group of theater folk has organized a Tonys Awards viewing party at the RTP theater as a benefit for the Theatre Artists Fund. This is a great idea and one that I would be totally there for if I wasn’t headed out of town. Still, you lucky folks who are here should waste no time making your reservations because I wouldn’t be surprised if this shindig sells out.

Finally, the Charlie Brown double-play has opened at the Firehouse. In an effort to take full advantage of the “rep” situation, I’m going to try and see both shows this weekend, perhaps to see if either production somehow informs the other. I’m also curious to see how a troupe of actors cast for a straight play has adapted to a musical. A few folks from the cast were on Virginia This Morning earlier this week. I can’t figure out how to link to the specific videos but both an interview and a performance from the appearance are available here. Judging from just this brief sneak preview, it seems they have adapted fine.