Take it on faith: see Marin’s Whipping Man

Apr 03

Take it on faith: see Marin’s <i>Whipping Man</i>

If Matthew Lopez were a miner, he could brag that he uncovered a rich mineral vein of enormous wealth, both cultural and commercial. But Lopez isn't a miner. He's a playwright, and though there are similarities to be sure, what Lopez brings to the surface in his fascinating play The Whipping Man is a mostly untold chapter of American history with deep spiritual resonance.

Lopez, whom Bay Area audiences met earlier this year when his play Somewhere ran at TheatreWorks, is a young playwright of note. The Whipping Man is the play that first brought him notice, and it receives its Bay Area premiere courtesy of Marin Theatre Company and co-producer Virginia Stage Company and in association with San Francisco's Lorraine Hansberry Theatre.

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Marin’s Godot and the impression we exist

Jan 30

Marin’s <i>Godot</i> and the impression we exist

I suspect Samuel Beckett knew exactly what he was doing when he wrote Waiting for Godot and left more questions unanswered than answered. The less specific you are, the more your audience members project their own business onto the characters and their situation.

The world Beckett creates could be the depressed past or the post-apocalyptic future. He could be writing about God and religion or about the hell of human existence. His main characters, Vladimir and Estragon, could be clowns or tragic figures or both. It's all up for discussion, open for interpretation. Everything is symbolic or nothing is symbolic and just is what it is and the population has increased. And that's the genius of Beckett and the joy of his most famous play.

The current production at Marin Theatre Company...

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Othello: not a fan but a grudging admirer

Apr 06

<i>Othello</i>: not a fan but a grudging admirer

When faced with the prospect of seeing another production of Othello, I usually gird my loins, wipe my nose with a strawberry-embroidered hanky and settle in for a show I know I'm not going to like much. As a theater critic, I suppose I'm not supposed to have a bias for or against certain plays, but that's really nonsensical when you think about it, especially plays you've seen over and over and over again. I've been doing the theatrical criticism thing for almost 20 years now, and I've seen Desdemona choked (and choked and choked again) a number of times, in good productions and bad. And I've never really been moved by the play. Certain performances made an impact, but more on an intellectual than emotional level.

Perhaps I should have skipped the latest Othello at Marin Theatre Company, but the prospect of seeing two actors I admire greatly, Aldo Billingslea and Craig Marker as Othello and Iago respectively, was too much to resist. I have to say I'm glad I saw the production because these two formidable local talents do not disappoint.

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Marin reveals crystaline Glass Menagerie

Nov 30

Marin reveals crystaline <i>Glass Menagerie</i>

Tennessee Williams' first brilliant move was to let everyone off the hook – himself included. By alerting the audience that The Glass Menagerie is a memory play, he removes it from reality (or not) and lets the creative team and the audience make their own accommodations as to what is memory, what is fact and what is flight of artistic fancy. In other words, you can try to get away with just about anything because it's all a memory, right?

Marin Theatre Company's production of Menagerie doesn't stray too far from tradition, but director Jasson Minadakis definitely puts his own spin on the 1944 classic and gets some marvelous performances from his cast.

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Tiny but terrifying: Go ask Alice

Jun 08

Tiny but terrifying: Go ask <i>Alice</i>

The legend of Tiny Alice looms large. Edward Albee’s notorious 1964 follow-up to his monster Broadway smash Who’s Afraid of Virginia Woolf baffled critics and continued to cause kerfuffles for years to come (especially when William Ball, in the early days of American Conservatory Theater played fast and loose with the script).

This is not one of Albee’s frequently produced scripts, and after seeing Marin Theatre Company’s riveting production, it’s easy to see why. This play is a monster. It’s not like Albee hasn’t created monsters before (he loves to rile the beasts in many ways), but this one is especially weighty.

But this is a challenging play to say the least. Act 1 is familiar territory as Albee introduces his players, his zest for zingers and a juicy central mystery. In Act 2, the ground begins to wobble, and by Act 3, the ground has given way altogether. The monster, perhaps literally speaking, is loose.

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Marin’s Seagull: a Chekhovian reverie

Feb 02

Marin’s <i>Seagull</i>: a Chekhovian reverie

As long as we live in a world where celebrity and art continually clash, Anton Chekhov’s The Seagull will feel extraordinarily timely. And as long as people are restless, stingy and full of dreams, Chekhov will continue to offer extraordinary insight to his audiences.

It’s amazing that a flop play from 1896 has become such a resonant classic. From our perspective, Chekhov had the disadvantage of writing in Russian, which means his work has to be filtered through a translator/adaptor – and there have been some big names attached to that duty. Tennessee Williams did it with his “free adaptation” The Notebook of Trigorin. Playwrights Michael Frayn, Tom Stoppard and Christopher Hampton have all done it as well.

Now former Oregon Shakespeare Festival Artistic Director Libby Appel (working from a literal translation by Allison Horsley) brings us her version (a commission of OSF) in a world-premiere production at Marin Theatre Company under the direction of Jasson Minadakis.

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