Chad Jones’ Theater Dogs

Some good news from box offices both national and local today. First the local.

According to Berkeley Repertory Theatre, coming to the end of its 40th anniversary season,
Nilaja Sun’s No Child… broke the box office record for single-day sales last Saturday (May 24). The previous record was set a couple of months ago by Carrie Fisher’s Wishful Drinking, and that show broke the record set a couple of months before that by Mary Zimmerman’s Argonautika. A happy 40th birthday indeed. By the way, No Child… has been extended a second time through June 11. See it if you can. Visit www.berkeleyrep.org for information.

Across the country, on a little boulevard I like to call Broadway, the box-office news is pretty good as well. The Broadway League announced today that the season just ended (May 28, 2007-May 25, 2008) took in $937.5 million, down slightly from the previous year’s total of $938.5 million.

League members said last season probably would have broken records were it not for the the stagehands strike, which shut down much of the Broadway theater scene for 19 days.

Here are the season stats, just in case you follow theater like some people follow sports:
36 productions opened on Broadway during 2007-2008:
8 new musicals
1 musical return engagement
4 musical revivals
11 new plays
12 play revivals
Paid attendance at Broadway shows was 12.27 million, down .2 percent from the previous season.

Charlotte St. Martin, executive director of The Broadway League, said in a statement: “While we are disappointed that we didn’t exceed last year’s record-breaking season, we are confident that in the coming season, with such big name shows on the horizon as Billy Elliot, Shrek, West Side Story and Equus, to only name a few, that we will have the best season in recorded history.”

Time to start thinking about those season tickets — or at least cherry picking which shows you’re going to make a point of seeing next season.

Berkeley Repertory Theatre’s 2008-09 season was announced this week. Here’s how it shapes up.

Yellowjackets by Itamar Moses (left) — Berkeley native writes about Berkeley High School and the student newspaper. Tony Taccone directs.

Joe Turner’s Come and Gone by August Wilson – East Bay resident Delroy Lindo returns to Berkeley Rep to direct the play that earned him a Tony Award nomination.

The Arabian Nights by Mary Zimmerman – Local audiences are getting quite used to the dynamic theatricality of Chicago’s Zimmerman, a near-constant in Berkeley Rep’s recent seasons. This time out she’s zaaaing up the legend of the 1,001 nights.

The Vibrator Play by Sarah Ruhl – The last time director Les Waters was paired with Ruhl, the results were extraordinary. Eurydice turned out to be one of the best nights at the theater in a good long while. Now the director and the fast-emerging writer pair up for a world premiere about six lonely people seeking relief from a local doctor.

Crime and Punishment by Fyodor Dostoevsky – Former Berkeley Rep artistic director Sharon Ott returns to direct Marilyn Campbell and Curt Columbus’ 90-minute adaptation of the classic Russian crime novel.

The Lieutenant of Inishmore by Martin McDonagh – The pairing of Waters and McDonagh was exciting last season in The Pillowman. Now Waters sinks his teeth into McDonagh’s bloody comedy about a dead cat and the Irish troubles.

Yellow Face by David Henry Hwang – Hwang finally makes his Berkeley Rep debut with a satirical self-portrait of a writer caught in a controversy of his own creation.

For information visit www.berkeleyrep.org.

And now for San Jose Rep’s new season, the final for artistic director Timothy Near.

The Foreigner by Larry Shue – A staple of community theaters everywhere, this comedy involves a rural fishing lodge, mistaken identity and slow-witted rubes.

Splitting Infinity by Jamie Pachino – Nobel prize-winning astrophysicist decides to use physics to prove whether God exists or not.

Around the World in 80 Days by Mark Brown (adapted from Jules Verne) — Adventurer Phileas Fogg embarks on the original version of “Amazing Race” in this streamlined, highly theatrical stage adaptation.

The Kite Runner by Matthew Spangler (adapted from Khaled Hosseini) — A big coup for San Jose Rep, this is the world premiere stage adaptation of the hot, hot novel that has already been turned into a controversial movie.

The 25th Annual Putnam County Spelling Bee by Rachel Sheinkin and William Finn — This utterly charming musical was a big hit in San Francisco, and now it makes its way into the regional theater circuit.

For information visit www.sjrep.com.

I can always tell whether a theater year has been good or not so good when I sit down to hammer out my Top 10 list. If I can summon five or more shows simply from memory, it’s a good year. This year’s entire list came almost entirely from memory (which is a feat in itself as the old noggin’ ain’t what it used to be), so it was a good year indeed.

Here’s the countdown leading to my No. 1 pick of the year.

10. Anna Bella Eema, Crowded Fire Theatre Company — Three fantastic actresses, Cassie Beck, Danielle Levin and Julie Kurtz, brought Lisa D’Amour’s tone poem of a play to thrilling life.

9. First Person Shooter, SF Playhouse and Playground – What a good year for SF Playhouse. This original play by local writer Aaron Loeb brought some powerhouse drama to its examination of violent video games and school violence.

8. Bulrusher, Shotgun Players – Berkeley’s own Eisa Davis’ eloquent play, a finalist for the Pulitzer Prize for drama, turned the Northern California dialect of Boontling into poetic drama as it told the story of an outcast young woman finding her place in the world.

7. Avenue Q, Best of Broadway/SHN – Hilarious and irreverent, this puppet-filled musical by Jeff Marx, Robert Lopez and Jeff Whitty made you believe in friendship, life after college and the joys of puppet sex.

6. Jesus Hopped the `A’ Train, SF Playhouse – It took a while for Stephen Adly Guirgis’ intense drama to make it to the Bay Area, but the wait was worth it, if only for Berkeley resident Carl Lumbly in the central role of a murderer who may have seen the error of his ways. And note: This is the second SF Playhouse show on the list.

5. Emma, TheatreWorks _ Paul Gordon’s sumptuous, funny and, of course, romantic adaptation of Jane Austen’s novel came marvelously to life as a musical, with a star-making performance by Pleasanton native Lianne Marie Dobbs.

4. Argonautika, Berkeley Repertory Theatre _ Mary Zimmerman’s athletic retelling of the Jason and the Argonauts myth fused beauty and muscle and impeccable storytelling into a grand evening of theater.

3. Which Is More Than I Can Say About Some People, Word for Word – Actually, the second half of Strangers We Know, this stage adaptation of Lorrie Moore’s short story was brilliantly directed by Joel Mullenix and performed by Patricia Silver and Sheila Balter.

2. Man and Superman, California Shakespeare Theater _ This unbelievably vivid version of George Bernard Shaw’s massive existentialist comedy benefited from superior direction by Jonathan Moscone and an impeccable cast headed by Elijah Alexander and Susannah Livingston.

1. The Crowd You’re in With, Magic Theatre _ The team of playwright Rebecca Gilman and director Amy Glazer fused into brilliance with this slice-of-life meditation on why we make the choices we make in our lives. Local luminaries Lorri Holt and Charles Shaw Robinson brought incredible humor and tenderness to their roles, and T. Edward Webster in the lead managed to make ambivalence compelling.

Now it’s your turn. Please post your favorite theater moments of 2007 — no geographical limitations, just good theater.

Opened Wednesday, Nov. 7, 2007 at Berkeley Repertory Theatre’s Roda Theatre

Zimmerman dazzles in adventurous Argonautika
Four stars Argonaut-to-be-missed

With director Mary Zimmerman at the helm of the Argos, you know the voyage is going to be interesting.

Sure enough, Zimmerman, the Chicago-based visionary whose work has won her a Tony Award (Metamorphoses), a MacArthur “genius” grant and the admiration of audiences across the country, renders the story of Jason and the Argonauts with her typical passion and flair.

Argonautika, born in Chicago last year and now on a mini-tour of regional theaters, is Zimmerman at her most accessible and enjoyable.

Now at Berkeley Repertory Theatre’s Roda Theatre, Argonautika is more fun than the last few Zimmerman shows we’ve seen in Berkeley. Certainly it lacks the oppressive darkness of The Secret in the Wings, and its story is far more captivating than The Notebooks of Leonardo da Vinci.

My favorite Zimmerman work will likely always be Metamorphoses, a work of rare beauty and emotion, but a close second is 1996’s Journey to the West, a piece of epic storytelling that managed to be both intimate and grand, imaginative and illuminating.

That’s what Argonautika is – gorgeous storytelling in which surprises abound. We expect adventure and fun as Jason and his men set sail for Colchis in search of the Golden Fleece.

What we don’t expect is the abundant humor – of the frat-boy and high-minded variety – or the fantastic songs (sound design and composition by Andre Pluess and Ben Sussman) or the pockets of emotional complexity as the story evolves into something more than a myth and becomes a whole lot more about human loss and love.

The whole show takes place in a beautiful, open-backed wooden box (set by Daniel Ostling, stunning lighting by John Culbert) that is meant to evoke the deck of the Argos. To my mind, the set seemed to be more of a storytelling gymnasium in which the actors get a workout taking turns as narrators, playing multiple roles, flying in and out of the set, setting up the ship’s rigging and fighting Michael Montenegro’s terrific bare-bones puppets (the giant, the harpies and the dragon are particularly enjoyable).

Goddesses Hera (Christa Scott-Reed) and Athena (Sofia Jean Gomez) are our story guides as well as the guardians of Jason (Jake Suffian) and his crew as they court danger at every turn.

Most of the cast comes from the Chicago production, but local actor Soren Oliver is a delight as the muscle-brained Hercules whose tenderness is reserved for his soul mate, Hylas (Justin Blanchard). Oliver is also the imposing, xenophobic King Aietes, costumed like Ming the Merciless from Flash Gordon (costumes by Ana Kuzmanic), whose job it is to make Jason as miserable as possible.

Zimmerman’s adaptation of The Voyage of Jason and the Argonauts gets really interesting in Act 2 when Medea (Atley Loughridge) enters the picture.

The young sorceress gets shot through with one of Eros’ arrows, and we see the arrow sticking through her abdomen and watch her dress get increasingly bloody as she falls for Jason.

When her magic saves Jason’s bacon, Jason professes his undying love and devotion to Medea and says if he ever hurts or betrays her, she should do something unimaginably horrible to him. All the while, a black-cloaked, winged creature takes down Jason’s every word, and we feel the chill. We want to tell Jason and Medea’s future sons to run, children, run, for their father is a lying, manipulative bastard, though he might not know it yet.

Argonautika, which runs about 2 ½ hours, travels well beyond the usual quest-adversity-triumph and takes us into the tragedy of Jason and Medea’s later life, and though we lose the thrill of the adventure, we gain the depth and pleasures of truly remarkable storytelling.

For information about Argonautika, visit www.berkeleyrep.org or call 510-647-2949.