Category Archives: Moises Kaufman

Aside from dancing, Berkeley Rep Square is far from paradise

Posted on by
Reply

Paradise 1
(front row, l to r) Hailee Kaleem Wright (Ensemble), Karen Burthwright (Ensemble), and Sidney Dupont (William Henry Lane); (back row, l to r) Chloé Davis (Ensemble), Sir Brock Warren (Ensemble), Jamal Christopher Douglas (Ensemble), and Jacobi Hall (Ensemble) in the world premiere of Paradise Square: A New Musical at Berkeley Rep. Photo courtesy of Alessandra Mello/Berkeley Repertory Theatre. Below: (l to r) Jason Oremus (Ensemble) and Jacobi Hall (Ensemble), and the company of Paradise Square. Photo courtesy of Kevin Berne/Berkeley Repertory Theatre

There are actually two competing musicals in Paradise Square: A New Musical now having its world premiere at Berkeley Repertory Theatre. One of them is much better than the other.

Incredibly ambitious and overstuffed, Paradise Square wants to create excitement about a particular moment in American history with a wonderfully diverse cast and a score that blends show music, traditional music and contemporary sounds (sound familiar? can’t blame producers for not wanting to throw away their shot). But this show, many years in the making, is still fuzzy, unfocused and only intermittently interesting.

In telling the story of the Five Points, a 19th-century New York slum inhabited primarily by Irish immigrants and African Americans, Paradise Square complicates its storytelling by weaving in the life of composer Stephen Foster, whose music provides a base for the score crafted by Jason Howland and Larry Kirwan (the guy who had the idea to create this show in the first place) with lyrics by Nathan Tysen. Foster’s music became synonymous with minstrelsy, so putting his beautiful melodies in service of a story about, as they call it in the show, “race mixing,” is in theory an interesting idea. But in fact, those melodies are obliterated, blasted and torqued beyond recognition much of the time. When we finally get to a straightforward “Beautiful Dreamer,” it’s like we’ve arrived at a clearing full of light after slogging through a dense, dark forest.

Rather than giving us one central story to care about, book writers Kirwan, Craig Lucas and Marcus Gardley give us a handful, none of which are terribly compelling. They also give us dance-offs. In a story that should be rife with tension – racial tension, labor tension, political tension, Civil War draft tension, runaway slave tension, violent mob tension – the greatest intensity and satisfaction comes from three primary dance contests. The first is between a newly arrived Irish immigrant (A.J. Shively as Owen) and a fugitive slave (Sidney Dupont as Will Henry). Owen is doing Irish step dancing and Will Henry is doing Juba-style dancing. Both are electrifying. In Act 2, we get an official dance contest in a neighborhood bar, with the cash prize enough to buy your way out of the draft ($300). The contest begins and ends, but wait! We need a do-over, so Will Henry and Owen can compete head to head once again (and for a solo dance contest, they sure do a lot of singing and dancing with their squads).

Paradise 2

The dancing throughout the 2 1/2-plus hours of Paradise Square is routinely fascinating, often thrilling, which is exactly what you’d expect from choreographer Bill T. Jones. The problem is that the sharply etched choreography feels like it’s for a different, much more sophisticated show. If Paradise Square wanted only to dance, that would be just fine.

Director Moisés Kaufman simply cannot pull it all together. There are some powerful vocal performances from his nearly 30-member cast, but too often the acting is hammy and melodramatic (mostly the fault of the wobbly book). Actors feel like they’re creating tableaux more than they are playing actual people.

The show’s ending is a complete cop-out as the historical trappings fall away and the actors address the audience directly so they can tell us what happened to the characters after the chaos of the story comes to its conclusion. One of the things they mention is that the “race mixing” of the Five Points, primarily between Irish immigrants and African Americans, resulted in a new dance form called tap dancing. Why, oh why is this not part of this show, which just happens to be a musical wherein the best thing about it is the dancing? We see and hear tap dancing only once in the show, and it’s during a flashback to slaves being whipped on a plantation. Talk about a missed opportunity.

The presence of Foster as a character (appealingly played by Jacob Fishel) and as the basis for the show’s score should be more interesting than it is. He was coopting black music and turning it into popular song, which was in turn coopted by the racially repugnant minstrel circuit. One of the black characters gets to go on a tirade about how much she hates Stephen Foster to Stephen Foster, and it just feels irrelevant when the city is just about to explode into the deadly Draft Riots (oh, but wait, can the riots hold on a sec because we also need to do the big dance contest!).

Musicals are beastly contraptions that go wrong far more than they go right. In Paradise Square we’re told there was a time when people lived briefly in a time and place where race mattered less than character, but even the evidence we see of that seems fraught and far from idyllic. So the loss of this brief flash of semi-harmony – what we’re told was a glimpse of the future that has yet to come – doesn’t feel like much of a loss. As a result, Paradise Square doesn’t really feel like much of a show. Not yet anyway.

FOR MORE INFORMATION
Paradise Square: A New Musical continues an extended run through March 3 at Berkeley Repertory Theatre’s Roda Theatre, 2015 Addison St., Berkeley. Tickets are $40-$115 (subject to change). Call 510-647-2949 or visit berkeleyrep.org.

TheatreWorks offers Variations on a scheme

Posted on by
Reply

33 Variations 1

With the help of her friend Gertie (Marie Shell, left), musicologist Dr. Katherine Brandt (Rosina Reynolds) races against time to solve one of the greatest mysteries in the life of Beethoven (Howard Swain), who is breaking the bonds of time to complain about his soup in Moisés Kaufman’s 33 Variations, a TheatreWorks production. Below: Reynolds and Swain have an otherworldly meeting between musicologist and music maker. Photos by Tracy Martin

When Moisés Kaufman gets to the point in his play 33 Variations, there’s resonance, beauty and purpose in it. For nearly 2 ½hours we’ve been tracking parallel stories: one in the present as a terminally ill musicologist delves into the mystery of why Beethoven wrote 33 variations on a waltz theme by music publisher Anton Diabelli. And the other in the early 19th century as we watch Beethoven, his health and hearing failing him, tackle major late-career works (his Mass, his Ninth Symphony) all while succumbing to an obsession with the Diabelli variations. The two stories do fuse in an interesting way eventually as issues of time, mortality and attention to detail bridge past and present while offering a spark of inspiration and insight into the nature of obsession.

Kafuman’s 2007 drama, produced by TheatreWorks and directed by Artistic Director Robert Kelley, takes its time getting to the point. Kelley’s production is thoroughly enjoyable and features some sharp performances, but the play itself doesn’t cut very deep, and the whole past/present cohabiting the stage thing doesn’t really work. In the crudest of terms, the play is an uneasy mash-up of Wit and Amadeus.

What works sublimely and powerfully is having a live pianist (William Liberatore) onstage the entire time, playing the original Diabelli waltz and then pieces of Beethoven’s variations on it. Hearing that music and listening to smart people talk about what’s happening in the music is exciting. This experience puts us inside the music and allows us to appreciate it (if we haven’t already) in a whole new way. The music, is in fact, much more interesting than the period drama Kaufman presents us with, as Beethoven (played by Howard Swain) behaves like a brilliant kook and makes life difficult for his assistant, Schindler (Jackson Davis), and music publisher Diabelli (Michael Gene Sullivan).

33 Variations 2

Not for lack of effort by Swain, Davis and Sullivan, the past part of the play stuck in the past never gains traction. And the reality of Beethoven’s life – his hearing loss, his money woes – turns out to be far less interesting than his music. There’s only one scene with Beehoven – it’s a fantasy sequence in which the past and present fuse – that has an emotional payoff, so I can’t help thinking the play would be a lot more interesting if Beethoven’s appearances were more limited and his music was emphasized even more.

The drama unfolding in the present, at least the part involving musicologist Katherine Brandt (Rosina Reynolds) and her quest to solve the Diabelli Variations mystery, is more compelling, especially as her research becomes at once more intensely focused and more hindered by her encroaching illness. As she examines Beethoven’s notebooks in Germany under the watchful eye of archivist Gertie (Marie Shell), Katherine is exploring her passion for music and answering questions that turn out to have as much to do with her own life as they do with Beethoven. Reynolds’ performance has the requisite sharp edges but without making Katherine a cold academic.

Would that Kaufman could let Katherine’s exploration command the stage, but he tacks on a subplot about Katherine’s daughter, Clara (Jennifer Le Blanc) and her budding relationship with one of Katherine’s nurses, Mike (Chad Deverman). We see their first date and watch them grapple with the physical and emotional demands of Katherine’s illness. It all has a familiar TV-like rhythm to it. Neither Clara nor Mike is a particularly complicated character. Both are nice and well meaning and, frankly, kind of boring.

Two things here are of primary interest: Katherine and Beethoven’s music. Everything else just gets in the way.

[bonus interview]

I interviewed playwright/director Moisés Kaufman for the San Francisco Chronicle. Read the story here.

FOR MORE INFORMATION

TheatreWorks’ 33 Variations continues through Oct. 28 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. Tickets are $23-$73. Call 650-463-1960 or visit www.theatreworks.org.

Moises Kaufman’s `33 Variations’ wins big award

Posted on by
Reply

The American Theatre Critics Association (ATCA) has selected Moises Kaufman’s 33 Variations to receive the 2008 Harold and Mimi Steinberg /American Theatre
Critics Association New Play Award. The announcement was made Saturday, March 29 at Actors Theatre of Louisville during the Humana Festival of New American Plays. The award includes a commemorative plaque and a cash prize of $25,000 – currently the largest national playwriting award. Deborah Zoe Laufer’s End Days and Sarah Ruhl’s Dead Man’s Cell Phone also received citations and $7,500 each. Ruhl previously received a Steinberg/ATCA citation in 2005; Kaufman and Laufer are first time honorees.

“The long-standing partnership between the Harold and Mimi Steinberg Charitable Trust and the American Theatre Critics Association has recognized some of today’s greatest writers, and helped identify the great playwrights of tomorrow,” said trustee Jim Steinberg. “We’re delighted to help support the unique telling of tales on the American stage.”

The Steinberg/ATCA Award was started in 1977 to honor new plays produced at regional theaters outside New York City, where there are many new play awards. No play is eligible if it has gone on to a New York production within the award year (in this case, 2007).

Kaufman’s 33 Variations debuted in September at Washington’s Arena Stage. It offers a fictional imagining of Beethoven’s creation of 33 brilliant variations on a prosaic waltz. The composer’s obsessive pursuit of perfection parallels a modern tale of a terminally-ill musicologist struggling with her own obsession to unearth the source of Beethoven’s.

Laufer’s End Days premiered in October at Florida Stage in Manalapan. Sometimes comic, sometimes moving, it studies the challenge of maintaining faith in a world dominated by science and fear. A Jewish family copes with the aftermath of 9/11 as the mother, now a born-again Christian, tries to convert them before the rapture arrives — on Wednesday.

Ruhl’s Dead Man’s Cell Phone made its bow at Washington D.C.’s Woolly Mammoth Theatre Company in June. The quirky comedy examines the fallout when a lonely woman takes the cell phone from the body of dead man she discovers sitting next to her in a café and begins answering his calls.

These three were among six finalists selected from 28 eligible scripts submitted by ATCA members. They were evaluated by a committee of 12 theater critics, led by chairman Wm. F. Hirschman of the South Florida Sun-Sentinel and vice-chair George Hatza of the Reading (Pa.) Eagle. Other committee members are Michael Elkin, Jewish Exponent (Pennsylvania); Wendy Parker, The Village Mill (Virginia); Michael Sander, Back Stage (Minnesota); Herb Simpson, City Newspaper (Rochester, NY); Chad Jones, formerly of the Oakland (Cal.) Tribune; Jay Handelman, Sarasota Herald-Tribune; Ellen Fagg, The Salt Lake Tribune; Misha Berson, Seattle Times; Pam Harbaugh, Florida Today; and Elizabeth Keill, Independent Press (Morristown, NJ).

“The amazing range of work — dramas, fantasies, musicals, farces, melodramas — was uplifting confirmation that theater remains a vital and evolving art form that can speak to every generation,” Hirschman said.

Since the inception of ATCA’s New Play Award in 1977, honorees have included Lanford Wilson, Marsha Norman, August Wilson, Jane Martin, Arthur Miller, Mac Wellman, Adrienne Kennedy, Donald Margulies, Lee Blessing, Lynn Nottage, Horton Foote and Craig Lucas. Last year’s honoree was Peter Sinn Nachtrieb’s Hunter Gatherers.

The Harold and Mimi Steinberg Charitable Trust was created in 1986 by Harold Steinberg on behalf of himself and his late wife. Pursuing its primary mission to support the American theater, it has provided grants totaling millions of dollars to support new productions of American plays and educational programs for those who may not ordinarily experience live theater.