Smart, creepy Nether wows at SF Playhouse

Posted on January 25, 2016 by Chad Jones

Iris (Carmen Steele) marvels over the Victorian world that Papa (Warren David Keith) has created in Jennifer Haley’s The Nether at San Francisco Playhouse. Below: Doyle (Louis Parnell, left) is questioned by Detective Morris (Ruibo Qian) about his dealings in the Nether, a futuristic version of the Internet where virtual reality is more than just a high-concept toy. Photos by Jessica Palopoli

There aren’t that many plays with the power to totally creep you out and entertain you mightily. Such is the power of Jennifer Haley’s The Nether at San Francisco Playhouse in a production that is stunning in all the right ways (director Bill English and set designer Nina Ball do yeomans work here).

The play is only 80 minutes, but it packs a mighty wallop. Here you have a play that is, ostensibly, about the rape and murder of children, but it’s not horrific. It’s nifty sci-fi trick is to set the action in the near future when virtual reality has become a big part of life. The Internet has evolved into something called the Nether, and, happy to say, there are still laws in the future, although how they govern (or don’t) the Nether and virtual reality is a big part of what the drama is about. So no actual children are harmed, but even in theory, seeing man holding an ax standing next to a little girl makes your skin crawl.

I reviewed The Nether for the San Francisco Chronicle. Here’s a peek:

Haley has crafted a piece of theatrical science fiction that works astonishingly well straddling two realities. Theater itself is already a kind of virtual reality, so it’s the perfect place for Haley’s futuristic tale of a world where trees barely exist anymore and more and more people (called “shades”) are living their lives inside a more evolved Internet known as “the nether,” where lifelike communities are formed and imaginations (and morals and laws) are unbound.
This is a tricky, provocative 80-minute drama that could outrage audiences except that it’s so intelligently crafted that fascination trumps shock in this story of authorities going after the creators of a virtual world in which adults, adhering to Victorian dress and custom, interact with children who are then sexually abused and murdered (only to be regenerated by the program in a never-ending cycle).
As sick as that sounds, keep in mind that none of it’s real — it’s consensual role playing among adults who pay to be there (or, in the case of the “children,” adults who are employed by the virtual reality creators).

You can read the review in its entirety here.

FOR MORE INFORMATION
Jennifer Haley’s The Nether continues through March 5 at the San Francisco Playhouse, 450 Post St., San Francisco. Tickets are $20-$120. Call 415-677-9596 or visit www.sfplayhouse.org.

Uneven tone tilts ACT’s Monstress double bill

Posted on October 3, 2015 by Chad Jones

Vicente Pacram (Ogie Zulueta, left) serves a Filipino dish to Althea Benton (Kelsey Venter) in the room he shares at the I-Hotel with Fortunado “Nado” Giron (Jomar Tagatac, center) in Remember the I-Hotel, a one-act play by Philip Kan Gotanda adapted from Monstress, Lysley Tenorio’s collection of short stories. American Conservatory Theater’s Monstress double bill is at the Strand Theater. Below: The Squid Mother of Cebu (Melody Butiu) grabs a hold of Melissa Locsin in Presenting…the Monstress!, a one-act play by Sean San José also adapted from Tenorio’s Monstress. Photos by Kevin Berne

Two of the Bay Area’s most interesting theater artists, Philip Kan Gotanda and Sean San José, were asked to adapt a short story from Lysley Tenorio’s 2012 collection Monstress for American Conservatory Theater’s Strand Theater as part of the company’s San Francisco Stories initiative and the New Strands play development and commissioning program.

The results make up the double bill Monstress now at the Strand, and while both plays, under the emotionally astute direction of ACT Artistic Director Carey Perloff, are enjoyable, one feels like a much more stage-worthy enterprise while the other comes off as more of a light sketch.

The latter, San José’s Presenting…the Mnstress!, concludes the 2-hour and 15-minute evening, and that, unfortunately, dissipates the power and impact of the first play, Gotanda’s riveting Remember the I-Hotel.

San José stars in his play as Checkers Rosario, a Manila filmmaker who specializes in schlocky D-grade horror movies starring his girlfriend, Reva Gogo (the wonderful Melody Butiu). Deluded by dreams of Hollywood glory, Checkers can’t see that his talents don’t really lie in filmmaking, and just when it seems like reality is catching up to his delusion, a visitor from Hollywood arrives to open doors to cinematic stardom. So Checkers and Reva are off to California, but it turns out that Gaz Gazmann (Nick Gabriel) isn’t really a Hollywood mogul. He’s makes terrible movies in the basement of his mother’s San Mateo home.

There’s fun to be had with the silly ’70s horror movies being made (the costumes by Lydia Tanji are a hoot), and Butiu gives a full-bodied, emotional performance as a woman caught between the man she loves and his fragile ego. But there’s not much there there, as they say. A sort of Greek chorus of Checkers’ fans tells the story and plays supporting roles, but this device tends to make the play seem sillier than it actually is.

This slight play is also done no favors following the evening’s first play, the emotionally resonant, utterly compelling Remember the I-Hotel. The story is based on an incident from San Francisco history – the razing of the International Hotel in 1977 and the displacement of its mostly Filipino inhabitants – but Tenorio and Gotanda tap into a story that transcends historical connection.

Bookended by the public demonstration and police presence that accompanied the 1977 evictions, the story takes place primarily in the 1930s, when San Francisco’s Manilatown was full of Filipino clubs and restaurants. In one of those clubs, a dance hall (beautifully rendered by set designer Nina Ball and versatile enough to evoke a number of locations), bellhop Vicente (Ogie Zulueta) meets migrant farmworker Fortunado (Jomar Tagatac) taking a break from the Stockton asparagus fields. The two don’t immediately hit it off, but once Vicente nicknames his new friend Nado, they’re practically inseparable. They become roommates at the I-Hotel, and Vicente gets Nado a job at the hotel where he works.

Friendship quickly turns to love, or at least it does for Nado, but Vicente’s head is turned by Althea (Kelsey Venter), a white maid at the hotel (her race factors into the plot). Tension and betrayal follow, and once the action shifts back to the ’70s, we understand a great deal more about Vicente and Nado and the harshness of the eviction they’re facing.

Zulueta and Tagatac are astoundingly good in their roles, so much so you want to spend more time with their story and its complexities. All the while their story unfolds, Butiu appears behind a microphone on the small dancehall stage and sings standards like “The Very Thought of You” and “Wild is the Wind,” all a cappella. Her voice is gorgeous, and the songs lend a romantic and wistful underscore.

It’s a sad but somehow beautiful play, and it feels substantial to the degree that Presenting…The Monstress! feels frivolous. And that makes for an interesting but even experience.

FOR MORE INFORMATION
American Conservatory Theater’s Monstress continues through Nov. 22 at the Strand Theater, 1127 Market St., San Francisco. Tickets are $20-$100. Call 415-749-2228 or visit www.act-sf.org.

Women rock the Night at Cal Shakes season opener

Posted on May 31, 2015 by Chad Jones

Lisa Anne Porter (right) plays separated twins Viola and Sebastian in the California Shakesperae Theater season-opening production of Twelfth Night. The female-led cast also includes (from left) Rami Margron as Orsino, Julie Eccles as Olivia, Margo Hall as Sir Andrew Aguecheek, Catherine Castellanos as Sir Toby Belch and Domenique Loazno as Maria. Below: Stacy Ross (left) as Malvolio is under the mistaken impression that his mistress has the hots for him, a ruse concocted by Sir Toby and Sir Andrew. Photos by Kevin Berne

Last year, California Shakespeare Theater offered an off-season touring production of Twelfth Night that featured an all-women cast and made stops in prisons, homeless shelters, senior communities and the like. It was a stripped-down, wonderful production, and apparently its impact was strong enough that outgoing artistic director Jonathan Moscone (he bids adieu in August after he directs The Mystery of Irma Vep) decided to pull the play into the company’s 41st season.

With a different director (Christopher Liam Moore), this is a very different Twelfth Night but with two key returning players and one overriding concept. The actors reprising their roles are Rami Margron as Duke Orsino (she also played scheming lady in waiting Maria last year) and the invaluable Catherine Castellanos making an even deeper impression as boozy wastrel Sir Toby Belch. This is not an all-female production, but it is what you might call female led. Of the eight cast members, seven are women, and – the irony is not subtle here – the only man, Ted Deasy, plays Feste, the fool (and other roles including a sea captain, a priest, a police constable, Antonio and a member of Orsino’s court).

Director Moore’s production is so sure footed and satisfying that the whole idea of a gender-bending cast populating an already gender-bending play quickly becomes less of a gimmick and more about some really good storytelling. It’s great that companies like Cal Shakes are shifting the balance away from male domination of Shakespeare, but it’s even better that the company is giving the stage to some incredibly talented actors to tell a sad, romantic, occasionally very funny tale.

Deasy begins the show by climbing out of a coffin sitting center stage. If that sounds grim – this is a play largely about grief, after all – not to worry. In full court jester garb (costumes by Meg Neville, who mercifully makes this jester bell-less), he whips out his iPhone and samples a playlist to indicate a storm is brewing: “Riders on the Storm,” “It’s Raining Men,” “Stormy Weather” and one other that’s too fun to spoil.” We’ll see iPhones throughout the 2 1/2-hour play, mostly for cuing up music (Air Supply, Eurythmics and Aretha Franklin make appearances) but also for photo taking and the inevitable selfie.

This is the 150th time Cal Shakes has done Twelfth Night (actually the eighth counting last year’s tour), and every time it feels like a slightly different play. Moore is having fun to be sure, but with that coffin never leaving the stage, the specter is ever present. The coffin represents several deaths affecting various characters. The twins Viola and Sebastian (both played by the marvelous Lisa Anne Porter) each think the other perished in a shipwreck. And the Lady Olivia (Julie Eccles, whose transformation from grief to love addled is spectacular) lost her father and brother in a short space of time and is drowning in her loss. But that coffin, being front and center in Nina Ball’s simple set, which resembles either a mausoleum or an elegant resort, also finds itself being used as various pieces of furniture, an ice chest for beer and as a dark, dank prison for the most notoriously wronged Malvolio.

Speaking of Malvolio, the righteous prig who brings out the bully in Sir Toby and his cohorts, Maria (Dominique Lozano) and Sir Andrew Aguecheek (Margo Hall), a word on the broad comic performances in this production. As Malvolio, Stacy Ross so fully inhabits the character that it’s as easy to hate him (and understand why he gets so viciously pranked) as it is to love him (when the prank goes way too far). Ross is funny, especially taking smiling lessons from the audience or gingerly navigating a set of stairs, but she’s also heartbreaking as the character is humiliated, taunted and bereft of the love he thought he had won.

With Castellanos’ turn as Sir Toby, there is broad hilarity (the costume conjures a Depptonian Capt. Jack Sparrow feel) but also a beating heart under all the liquor and brio and bullying. You get the sense that Toby is performing for Maria, whom he loves, and for Sir Andrew (Hall is quite funny as the blundering idiot), his sycophantic money bags of a sidekick. He’s got a (squalid) reputation to protect, but it really registers when even he admits the Malvolio prank has gone too far.

The happy ending, when the separated twins reunite, is handled deftly, and Porter, who has delineated her male and female (and female pretending to be male) characters beautifully, comes as close as a single actor could to making that scene poignant and a little heartbreaking (Viola gets her brother back from the void, but that hope does not exist for Olivia’s brother).

That this production can be rambunctious (Feste’s songs have a delightful country-western lilt) and funny, romantic and lyrical, sad and shadowy is its ultimate triumph.

FOR MORE INFORMAITON
California Shakespeare Theater’s Twelfth Night continues through June 21 at the Bruns Amphitheater, 100 California Shakespeare Theater Way. Tickets are $20-$72. Call 510-548-9666 or visit www.calshakes.org.

Faith, choices, colonialism collide in Marin’s gutsy Convert

Posted on February 25, 2015 by Chad Jones

Chilford (Jabari Brisport, left) is thanked by Mai Tamba (Elizabeth Carter, kneeling) and her niece Jekesai (Katherine Renee Turner) after he accepts Jekesai as his student and servant in exchange for her conversion to Catholicism. Mai Tamba’s son Tamba (JaBen Early, at rear) has serious doubts in the Bay Area premiere of Danai Gurira’s The Convert at Marin Theatre Company. BELOW: Prudence (Omoze Idehenre) gives the re-named Ester (Turner) advice about her studies in the language, religion and customs of the English settlers. Photos by Kevin Berne

For someone who kills zombies in her day job, Danai Gurira sure knows her way around a compelling drama. Best known as the kick-ass, Katana-wielding Michonne on AMC’s “The Walking Dead,” Gurira is also a playwright, an impressive one as it turns out based on her Bay Area debut with The Convert now at Marin Theatre Company.

This is a good, old-fashioned historical drama – three acts and nearly three hours – about the soul-crushing damage of colonialism and missionary zeal. What’s interesting is that The Convert is the second play to open in the Bay Area recently specifically addressing the colonizing of Africa by Europeans. In Just Theater’s We Are Proud to Present… (read about it here), it’s about Germans (and later the British) in Namibia in the late 19th and early 20th centuries. In The Convert, we’re dealing with the English running roughshod over Rhodesia (modern day Zimbabwe) in the late 19th century. Both stories, perhaps needless to say, end horribly for the native Africans.

Gurira’s Convert finds a land at the breaking point. The British, Dutch and Portugese have had a profound effect on local culture, the Shona people, seizing land and forcing many of the men to work in diamond mines for paltry pay and wreaking havoc with the native spirituality by aggressively converting Shona people to Christianity. Rebellion against the settlers began in the 1890s – when The Convert is set – and continued into the 1960s.

The title character is Jekesai (Katherine Renee Turner), a Shona woman who speaks no English but is in need of help from a local missionary, an African convert named Chilford (Jabari Brisport), who will save her from entering into an arranged marriage with a much older man is she agrees to open her heart to Jesus. Coached by her aunt, Mai Tamba (Elizabeth Carter) to say yes to anything the missionary says, the young woman begins her conversion as a means of protection, but her agile mind and ferocious spirit are soon caught up in her conversion for real. She learns to speak English and becomes Chilford’s right hand when it comes to bringing locals into the church.

Colonialists and missionaries, it turns out, are blinded by a similar affliction: 100 percent certainty that everything they think and do is right and that the world owes them. The profound disrespect they show to “savages” has disastrous ramifications for all involved, not to mention the land, the cattle and anything else that can be thoughtlessly pillaged for profit. Gurira’s play is fueled by the conflict of traditional culture and spirituality being overtaken by foreign culture and spirituality. Jekesai, who is renamed Ester, represents the locus of the conflict, but Gurira gives us another fascinating woman who is torn in a different way.

Prudence (Omoze Idehenre), a Shona woman, was not only fully educated by the British, she turned out to be smarter than most of her teachers and is now more convincingly British than they are. She has a crisp accent and a powerful vocabulary, and she’s set to marry a local bigwig, the African Chancellor (Jefferson A. Russell). The interesting thing about Prudence, outfitted in starchy, confining British styles (costumes by Fumiko Bielefeldt) is that she acutely feels how thoroughly she has turned her back on her own culture and people. She still speaks the local language when she can and encourages Ester to do the same. She’s also smart enough to know that what now separates her from her people will ultimately fail to connect her to the Europeans. She’s in between cultures and will likely be rejected by both.

Director Jasson Minadakis and his superb cast fill Nina Ball’s simple missionary home set with drama that comes from sharply defined characters and well-defined historical conflict. Turner as Jekesai/Ester is stunning, as is Idehenre as Prudence. Their characters are vivid and powerful and rich they almost need no supporting cast at all. But the supporting cast, which also includes JaBen Early and L. Peter Callender representing Shona men who resent the European influence and are preparing to to something about it, provides complex human beings rather than cardboard historical cut-outs.

It’s a bold move in our world of contemporary drama to present a long, three-act play. When so many playwrights are moving toward 90-minute (or less) one-acts, it’s refreshing to see a playwright go bold. The advantage of a three-act structure is the opportunity to fully draw in the audience and get them involved in the story. That certainly happens in The Convict, but I wasn’t convinced that the same couldn’t have happened in two acts. There are some slow patches in Act One, whereas acts Two and Three are full of action and emotion and consequence.

The Convert is a powerful drama, and as much as I love “The Walking Dead” (and especially as much as I love Michonne), it probably wouldn’t be such a bad thing for Gurira to give up her day job and focus on being the kick-ass playwright she so clearly is.

FOR MORE INFORMATION
Danai Gurira’s The Convert continues through March 15 at Marin Theatre Company, 397 Miller Ave., Mill Valley. Tickets are $20-$55. Call 415-388-5208 or visit www.marintheatre.org.

Breakfast of champions? Aurora chills with Mugabe

Posted on November 21, 2014 by Chad Jones

EXTENDED THROUGH DEC. 20

Dr. Peric (Dan Hiatt, center) looks to make an exit from his breakfast meeting with Robert Mugabe (L. Peter Callender, left) as presidential bodyguard Gabriel (Adrian Roberts) stands watch in Aurora Theatre Company’s Breakfast with Mugabe. Below: Hiatt’s Dr. Peric has a run in with Mrs. Mugabe (Leontyne Mbele-Mbong). Photos by David Allen

I can’t imagine the choosing of a tie or the pouring of orange juice has ever been more sinister as it is in Fraser Grace’s Breakfast with Mugabe, now on stage at Berkeley’s Aurora Theatre Company.

One of the delights of the Aurora has always been its intimacy. The audience sits on three sides of the stage, and everyone feels part of everything happening on stage. Strictly from a theatrical point of view, that allows us tremendous access to every detail of the performance and allows us into the nuance of a beautifully written script.

That intimacy is all well and good…unless you’re dealing with a monster. And that’s essentially what we hve in Mugabe, making its West Coast debut after hit runs with the Royal Shakespeare Company and in New York. It’s not just Mugabe (L. Peter Callender), the longtime president of Zimbabwe, who’s the monster. He is, perhaps, suffering from acute psychological issues, but his power structure is firmly in place and making itself known through his bodyguard, Gabriel (Adrian Roberts), also an intelligence agent, and Mugabe’s much younger second wife, Grace (Leontyne Mbele-Mbong), an ominous presence dressed up in elegance.

Our entrance into Mugabe’s world circa 2001 is through Dr. Andrew Peric (Dan Hiatt), a psychiatrist summoned to the State House in Harare. A white native of the country, Peric attempts to keep control of the situation from the start and remain as professional as possible, but it soon becomes clear that the control he usually requires with his patients won’t be happening here.

What is so interesting about Grace’s play is that he takes his cue from history – it is said that Mugabe was indeed treated by a white psychiatrist – but rather than creating a documentary-like drama, he taps into his inner Shakespeare and gives history a Macbeth-ian, Richard III-ian spin. This Mugabe is seeing ghosts – literally. He’s haunted by an “ngozi” or the aggressive spirit of a restless soul, and it’s not some nameless spirit either. It’s Josiah Tongogara, a commander of the ZANLA guerrilla army whose death in a car crash (cause unknown) paved the way for Mugabe to become prime minister.

The psychiatrists’ job is to treat Mugabe and get to the source of his anxiety and his visions (hallucinations?). It’s game of psychological cat and mouse, though, as Mugabe (and his team) are toying with the doctor as well and his long-held family estate that may or may not be taken over by soldiers.

Director Jon Tracy keeps the action taut, though there are dull spots in Grace’s script. His lead actors, Callender and Hiatt, are each at the top of their considerable game, which is saying something. They know their Shakespeare and they know naturalism, so the balance they create is just about perfect for this 100-minute show down.

Confined within the elegance of the presidential home (set design by Nina Ball), the story grows darker and darker, and the stakes grow higher. Tracy, working with video designer Micah Stieglitz, brings the world into the palace via fuzzy TV news montages, flashes of headlines and, most effectively, in live video surveillance of Dr. Peric. If it feels like the play doesn’t know where or how to end, just wait. Grace’s conclusion is absolutely chilling. Clearly you don’t have breakfast with Mugabe. He has you for breakfast.

FOR MORE INFORMATION
Fraser Grace’s Breakfast With Mugabe continues an extended run through Dec. 20 at Aurora Theatre Company, 2081 Addison St., Berkeley. Tickets are $32-$50. Call 510-843-4822 or visit www.auroratheatre.org.

Cal Shakes ends season with a vibrant Dream

Posted on September 7, 2014 by Chad Jones

Erika Chong Shuch (left) is Titania, queen of the fairies, and Margo Hall is Bottom, a transformed rude mechanical and Daisuke Tsuji (rear) is Oberon a mischievous king of the fairies in the California Shakespeare Theater production of A Midsummer Night’s Dream. Below: Tsuji’s Oberon and Danny Scheie’s Puck figure out how to right all the wrongs they’ve made with their midsummer meddling. Photos by Kevin Berne.

A Midsummer Night’s Dream is a landmark play for California Shakespeare Theater. When the company really became the company, then known as Berkeley Shakespeare Company, the first show produced at John Hinkel Park was Midsummer. Since then, the play has been performed seven more times, and now Cal Shakes concludes its 40th anniversary season with a version of the play that feels unlike any other production of it I’ve seen.

The opening scene, a battle/rough seduction between Theseus (Daisuke Tsuji) and the conquered Hippolyta (Erica Chong Shuch), is a good example of director Shana Cooper’s unique approach to the production’s tone. It’s hard to know whether to credit Shuch, who choreographed the play’s movement, or fight director Dave Maier for this dazzling encounter. But that kind of blended work is a hallmark of the production.

There’s a vigorous physicality to this Dream, whether it’s in the more formal dance moments (music and sound design is by Paul James Prendergast) or the heightened sense of vibrancy that enlivens the work of the forest fairies or the quartet of Athenian lovers who get lost and mightily tangled in the night. Even if there were no dialogue, you’d get a sense of relationships and tensions and emotions just from the way the thoroughly vivacious cast attacks the play.

There is dialogue, of course, and these sturdy actors deliver it as well as they embody the choreography. Margo Hall, for instance completely owns the role of Nick Bottom, the amateur actor who thinks he (or she in this case) should probably play every role in the play he and his friends are preparing for the King’s wedding festivities. Bottom is a rich comic role, and Hall finds new laughs in the pompous but lovable thespian, but she also finds the sincerity and the heart. That moment when Bottom, in mid-performance, stops ego acting and starts actually acting is wondrous (there’s a similiar performance moment for Craig Marker’s Flute, and it’s just as sweet).

As if Danny Scheie hadn’t impressed enough earlier in the season playing twins in The Comedy of Errors (read my review here) – now he’s breathing new life into Puck, chief fairy in charge of forest mischief. Outfitted by designer Katherine O’Neill in sort of a steam-punk ensemble of latex pantaloons, suspenders and sleeveless shirt, Scheie sports a mohawk and an attitude. This Puck still has a twinkle in his eye, but he’s also kind of over it and, as they say, can’t even. Scheie is hilarious and a little bit renegade – a good mix for Puck.

Audiences rarely leave Midsummer talking about the lovers (it’s usually Bottom and Puck), but Cooper’s quartet, especially the women, are really something. Hermia (Tristan Cunningham) and Helena (Lauren English) begin and end as friends, but in the middle, with the help of fairy trickery, things get rough. And that’s when things get fun. The befuddled men, Lysander (Dan Clegg) and Demetrius (Nicholas Pelczar), get major points for their all-out attack on the physical comedy, but the night belongs to the women, who lament and rage and struggle with all their mighty might. Cooper wants her lovers to get dirty, and boy do they. Set designer Nina Ball covers her forest floor with some sort of softy, dirty kind of material, and when that’s not enough, the lovers begin flinging actual mud.

When the hurricane of midsummer magic begins to dissipate, watching the lovers clean themselves up turns out to be one of the nearly 2 1/2-hour production’s nicest (and most thoroughly earned) moments.

This is not a colorful Midsummer so much as it is a moody one, but not so moody that it’s gloomy. The lights (by Burke Brown) are stark (to go along with Ball’s fragmented, woodpile of a forest set) and only occasionally festive. Only at the end, when the lovers end up together and the amateur theatricals begin does color infuse the world of the stage (and Brown lights the trees behind the stage to spectacular effect).

And a word about those amateur theatricals: Hall and Marker, along with Catherine Castellanos, James Carpenter, Liam Vincent and Scheie, deliver the funniest version of The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe I’ve seen, and Castellanos is the funniest wall, perhaps, of all time.

Even the autumn chill of opening night couldn’t diminish the feverish heat generated by this Midsummer Night’s Dream. It’s got the laughs, the sparks and the moves you only find in the most memorable of dreams.

FOR MORE INFORMATION
California Shakespeare Theater’s A Midsummer Night’s Dream continues through Sept. 28 at the Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda. Tickets are $20-$72. Call 510-548-9666 or visit www.calshakes.org.

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