The Joy Luck Club at TLT

Red dragon

by Michael Dresdner

It must have felt like going out on a limb for Tacoma Little Theatre to tackle the daunting but superbly written play The Joy Luck Club, based on the deservedly best-selling book by Amy Tan. If so, it was a gamble that paid off handsomely, for the result is astonishingly good and very moving theatre.

The story revolves around four women who formed a mahjong club shortly after emigrating from China to San Francisco, and the complex and often troubled relationships they share with their American born (and Americanized) daughters. Beyond a mere club, the mahjong game reflects both the glue that binds the women and a framework for their life lessons.  

Breaking the fourth wall, both generations of women tell a series of captivating stories directly to the audience. The histories and scenes they describe are cleverly amplified by other actors in small vignettes, or as crisp silhouettes we see moving across a back-lit scrim as they narrate.

Through the mothers’ and daughters’ tales we learn of their often painful pasts, the varied and sometimes convoluted routes that brought the mothers to America, and how their history shaped both who they are and how each generation relates to the other. Thanks to cultural differences in their styles of communication, there is often misunderstanding. The older women expect their daughters to correctly infer their feelings and lessons from what, to the daughters raised around American straightforwardness, often seems a confusing and contradictory set of cryptic signals.

The stories go back three generations and are told in fits rather than with linear continuity. It may seem a bit disjointed at first, but by the end, all the story threads come together to reveal a tightly knit tapestry of history that spans over 80 years, linking two countries and four extended families. Ultimately, the younger generation comes to understand both where they fit as Americans, and how deeply they are still tied to their Chinese roots.

A large and universally excellent ensemble cast plays over 100 different roles in this intricate exercise in compelling storytelling. It would be folly to try and call out each for the myriad of excellent performances they turned in, so I’ll just say they all deserve serious accolades. Admittedly, I was particularly taken with Leilani Berinobis’ Lindo, Ruth Yeo’s Waverly, and all the American boyfriends played by Dan Theyer, but believe me, they were just a few high spots in a very elevated playing field.

Behind the fine acting was brilliant direction by David Hsieh, who crafted a varied and visually compelling tableau from a series of intricate narrations. With spot-on pacing and blocking, he grippingly illuminated the pain, confusion, and joy that the stories revealed.

All this took place across a visually stunning and rather clever multi-level set designed by Burton K. Yuen. It was made up of both horizontally and vertically placed gigantic mahjong tiles that acted as walls, doors, and seating areas bordering the aforementioned scrim, which was trimmed out to look like an Asian-style screen.

With so many stories portrayed by so many actors, there was a seemingly endless parade of superb costumes by Michele Graves, and an equally dizzying array of lighting effects beautifully designed by Niclas R. Olson. In short, it was an outstanding cast led by a terrific director and backed up by an inspired support crew.

Both as a cultural stretch and as first-rate theatre, The Joy Luck Club should not be missed. This is a rara avis even among the many fine theatre offerings in this area. Do yourself a favor and make time to see this outstanding production, which truly is a joy to behold.

The Joy Luck Club

March 15 to April 7, 2013

Tacoma Little Theatre

http://www.tacomalittletheatre.com/

Harvey at Spotlight Players

An innocent abroad

by Michael Dresdner

L to R: Ana Bury as nurse Ruth and Rebecca McCarthy as Veta 

Originally debuted in 1944, Harvey is a funny, edifying play that relies on not one, but two dei ex machina that together deliver its simple message. First there’s Dr. Chumley’s almost magical Formula 977 that given once, instantly cures one of both drink and delusion. Next comes a loquacious cab driver who deftly delivers the two-pronged moral of this sweet story; that the devil we know is better than the devil we don’t, and that carefree and pleasant trumps realistic and shrewd.

Kerry Bringman as Elwood P. Dowd

Elwood P. Dowd, very adroitly played by Kerry Bringman, is a wealthy, genial, middle-aged man who spends his time, mostly in bars, talking to folks and making friends while accompanied by an invisible (to others) six-foot magical rabbit named Harvey. Because of Harvey, Dowd’s society-conscious sister Veta (Rebecca McCarthy), abetted by her daughter Myrtle Mae (Amanda Welch) tries to get him committed in a mental hospital. A series of miscommunications has both Veta and Dowd held and released in succession. Confusion ensues, and before long the head of the hospital, Dr. Chumley (Ben Stahl) is chasing both Dowd and Harvey in and out of bars in an attempt to get Dowd locked up, and an annoyed Veta not to sue the hospital.

The confusion is abetted by other intervening characters, all with their own separate issues. Ruth (Ana Bury), the sexy but efficient nurse, secretly loves Dr. Sanderson (Tony Onorati), the second in command at the institution. Both actors did a fine job in their supporting roles. The same is true for Dr. Chumley’s wife Betty (Melissa Isaksen) and Dowd’s Aunt Ethel (Leigh Duncan), who both proved that even a very minor part can be very well executed.

Rounding out the lunacy is an over-eager hospital orderly (Chase Whitener), the household maid (Mandy Stutesman), a judge and lawyer to the Dowd family (Jonathan Mannella), and the aforementioned cab driver (Robert McRill.)

Eventually, the confusion subsides, Elwood gets a chance to expound on his life principles, and he and Harvey manage to win over everyone. They even make love bloom among both the pining and the unlikely.

No set designer or costume designer was called out in the program, but the set smoothly converted back and forth from a hospital reception area to the library of Elwood’s home, albeit one devoid of books. Costumes were certainly adequate, though they failed to convey any particular time period. Also missing from the program were directors’ notes and any announcements of their upcoming shows.

I suppose the sad truth about this production is that it boasts more potential than delivery. That may be partly from co-directors Paul Hill and Katherine Mahoney leaning toward what I’d call an over-the-top style of presentation. However, the grandest obstacle for all involved was the space itself, a cavernous room with poor sight lines and acoustics that can only be called truly abysmal. The result was that nuance was lost and actors’ words were often very hard to understand, either eaten up or rendered cacophonous by the hall.

My bet is that with some refinement and a better space, this group, which has heretofore kept itself completely off the theatre community radar, will have a fair shot at being a critical part of the South Sound’s fine thespian tradition. In the meantime, they need our support in the form of audience attendance, and a lovely play like Harvey is a good venue for us to give it.

Harvey

March 8 to 23, 2013

Spotlight Players Theatre Troupe

http://valleyartsunited.org/Spotlight_Players.html

Lend Me a Tenor at Centerstage

WWBHD: What would Benny Hill do?

by Michael Dresdner

Max (Daniel Wood) and Maggie (Kate Alden)

Forget subtlety and dramatic nuance. Lend Me a Tenor at Centerstage is farce in its purest form; fast-paced humor filled with improbable situations, mistaken identity, physical comedy, verbal gags, and very broad portrayals of pure, bawdy nonsense. Its sole purpose is to make you laugh, and this outstanding cast, directed by Vince Brady, is certain to do so.

The plot serves mostly as a vehicle for zany antics, outrageous behavior, and an excuse to rapidly open and slam a myriad of doors. It all takes place in a pleasant, realistic set designed by Michael Ward that consists of the two rooms of a hotel suite. Along with the other amenities, one has a bed and the other a large couch, and yes, both will be used, simultaneously, for just what you expect.

It’s mostly irrelevant and quite convoluted, but here’s a quick synopsis. Famed operatic tenor Tito (Chris Maxfield) arrives in Cleveland for a guest performance of Othello, along with his sharp-tongued wife, Maria (Alyson Soma), and not one, but two Othello costumes, including ample black face makeup. Opera manager Saunders (Bob De Dea) frets and shouts about Tito’s late arrival while his daughter Maggie (Kate Alden) and her suitor, Saunders’ factotum Max (Daniel Wood) try to calm him. A bellhop (Zack Wheeler) with designs on an opera career adds to the havoc trying for an introduction.

Tito’s wife leaves him after finding Maggie in his room, who’s there because she wants a fling with Tito before settling down with Max. Upset, Tito takes too many tranquilizers and is assumed dead by Saunders and Max. They decide Max will don Othello’s costume and makeup and perform in Tito’s place. Meanwhile, Tito wakes, dresses as Othello, but is barred from entering the theater. Back in his rooms after the opera, a very confused Tito fends off Julia (Rosalie Hilburn), the opera chairwoman, but succumbs to the wiles of Diana (Alexandra Novotny), the opera soprano eager to sleep her way to the top. In the adjoining room, Max, still dressed as Othello, is seduced by Maggie, who thinks Max is Tito.

Confused yet? It gets crazier. Soon, everyone is running around, slamming doors, and generally making a hash of things until, Maria returns, all is sorted out, and the proverbial happy ending conquers all.  

There’s no point calling out the actors individually; every single one was top notch, each dutifully and adroitly overplaying his or her role in a nod to the gods of exaggerated theatrical farce. Costumes by Rachel Wilkie were excellent, as was lighting and sound, both by Amy Silveria.  

Armed with a superb cast and crew, this wonderful production of Lend Me a Tenor is a perfect excuse to forget the troubles of the real world and indulge in laughter as two hours of pure hilarity fly by. You’d be crazy to miss this divine slice of on-stage crazy.

Lend Me a Tenor

March 1^st to 24^th, 2013

Centerstage Theatre

www.centerstagetheatre.com