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THEATRE
First Run
FronteraFest '97: Week Three, February 7
FronteraFest's Friday fare at Hyde Park Theatre included pieces by artists from Houston and Austin, and a featured performance by Laurie Carlos of St. Paul, MN.
Laurie Carlos in ambient love rites
photograph by Bret BrookshireWally Zialcita's Many Happy Returns places four rather lonely characters about the stage where they variously attempt some form of isolated conversation. In Zialcita's Bridgeport, Connecticut, connection of the human kind is nearly impossible. A Doctor gives her appraisal of a patient to a male colleague, her lover, through a tape recorder, interspersing medical analysis with an apology for her behavior. A Clerk writes a letter to her estranged love, extolling her new life in Bridgeport, yet offering him opportunities to join her. A Bowler speaks to a bowling alley Waiter of his certainty, but betrays his loneliness. Some moments include a bleak humor where one character's words slide, inevitably, into another's discourse; the same loneliness pervades. But the final moment is tender, a delicate attempt to reach forward and connect.
Seja Rachael's Reflections of a Pregnant Insomniac: Chapter 8, "Through the Fire of Life and Death" (It's Not Gas Pains, Damn It!), like its title, is a word-ful piece taking Rachael through the labor and birth of her first child. Not just any pregnant insomniac, this one is also Jewish and a lesbian; two more potential obstacles to a smooth delivery (let alone pregnancy!), and, layered onto the rest of her troubles, the sources of humor and poignancy. How do I get pregnant? How do I give birth? How do I maintain my identity? Each question begets new questions, and Rachael explores them all gamely.
Eric W. Case directs John Patrick Shanley's Missing Marissa, a kitchen-based duet played out by friends who have shared the same woman. Now it appears she has departed their lives (or has she?), and they must reconcile. Shanley's script combines wordplay, idealism, and machismo in a New York apartment kitchen and creates a mystery even as the two men resolve their differences. John Deaver and Eric Shephard make quirky, realistic characters of Eli and Terry, but leave enough room for the occasional bizarre tirade that makes Shanley's work something to love or loathe. This particular script works hard to tie up some loose ends while unraveling others, and Deaver and Shephard are excellent foils for expressing the oddities of Eli and Terry's world.
The bill's highlight, the cooking show & the monkey dances, was written and performed by Laurie Carlos, a FronteraFest featured artist (one of many national and regional artists scheduled to perform in extended slots on any night's bill). Carlos, long a leader among avant-garde artists and writers, winner of Obie and Bessie awards, recalls in her work the dominating figure of a matronly black woman and the waif-like honesty of a child. Most striking in Carlos' performance is her quality of movement, of gesture. She is never still, accentuating the essence of each moment in a tilt of her head over a slowly eclipsing shoulder; in a flick of her fingers, of her voice. Her hands, her voice, her dancing, serve as characters, helping to tell her stories. She makes every action spontaneous; her delivery is so down to earth, so open and honest, she could be making it up as she goes along: a raconteur of the Lower East Side making bean salad. Don't be fooled! Carlos' performance is studied, detailed; nothing is wasted among her words or actions. Amid her rich, delicious slices of the hubbub in Manhattan's culturally diverse Avenue D, she comments, ever so subtly, on race, life, equality, love. Like the recipe of the salad she prepares during the course of her monologue, the cooking show & the monkey dances has many ingredients, many flavors. The audience (for whom she makes the salad) eats at the conclusion of the performance, and might consider that the world is indeed a collection of various ingredients, made a glorious whole by a simple recipe and a loving hand. (Robi Polgar) Through Feb 22, Tue-Sat, 8pm, at Hyde Park Theatre, 511 W. 43rd. For this week's schedule, see listing under "Theatre." Tickets: $8 a night/$35-$80 Fest passes. 454-TIXS.
Charms of LoveYou wouldn't think that a flying baby wearing nothing but a droopy diaper and sporting a bow and arrow would be such a sneaky little thing. Valentine's Day is upon us once again, the perfect time to celebrate Cupid and all of his devilish little tricks.
Shakespeare, of course, is known far and wide for his star-crossed lovers. The Colonial Shakespeare Company is known for its devotion to Shakespeare. Perhaps Cupid also made this particular match, a coupling that has given us Charms of Love, a collection of amour-themed scenes and sonnets that show the love-stuck Bard at his best.
CSC certainly knows how to set the mood. Each table at the Victory Grill comes loaded with a bottle of vino and a plate of cookies, perfect for sharing with a sweetie or two. A scene from Twelfth Night, directed by Anne Engelking, eases us into the evening. Ann Woodall as Viola and J.C. Shakespeare (yes, that is his real name) as Orsino delicately dance around issues of attraction and seduction. Director Tammy Monohan's scene from Troilus and Cressida exploits the lovers's nervous expectations.
The house really starts rockin' however when director Pete Pickerill's scene from A Midsummer Night's Dream takes the stage. Set in the 1950s, this scene - probably the scene most excerpted from this play - pits Hermia against Helena for a spirited and well-choreographed battle of wiles. All four actors capture the dizzying mood of the scene and keep the audience laughing.
The same is true with Whitney Milam's scene from Romeo and Juliet. Setting the Capulet's balcony in a town deep in Texas, director Milam has created a whole new avenue of accents for two talented actors, Stewart Johnson and Chris Monheim, to explore. While Milam and Pickerill's concepts may not suit entire productions of their respective plays, they do work well for these isolated scenes.
To be honest, the evening does not break new theatrical ground. But it is an enjoyable way to celebrate love and affection by watching some of the best bits the Bard ever wrote. Plus, you and your honey can maintain that loving feeling by catching the Victory Grill's featured act after the show. (Adrienne Martini) FINAL WEEKEND! Feb 13-15, Thu-Sat, 7pm, Sat, 3pm, at Victory Grill, 1104 E. 11th. Tickets: $10. Running time: 1 hr, 15 min. 454-TIXS.
CHITA RIVERA can still wow 'em, with the same fire and pizzazz that made her a Broadway musical legend. But don't take my word for it; head on down to the Paramount to catch her special concert appearance. (Note: Rivera's concert replaces the previously scheduled appearance of Harry Belafonte.) ONE PERFORMANCE ONLY! Feb 13, Thu, 8pm, at the Paramount Theatre, 713 Congress. Tickets: $25-$47. 472-5411.
LOVE LETTERS can tell a lot about two people, especially when they're spread out over a lifetime. So it is in A.R. Gurney's epistolary drama, which covers the correspondence of two close friends from childhood meeting through middle age. Sam Bass Community Theatre offers this tender tale as a Valentine's weekend treat. THREE PERFORMANCES ONLY! Feb 13-15, Thu-Sat, 8pm, at Old Depot Theatre, 600 N. Lee, Round Rock. Tickets: $5. 244-0440.
A PERFECT GANESH The stubborn Mrs. Civil and the flighty Mrs. Brynne are acquaintances forced together by circumstance in this Terrence McNally drama. The two WASP-y Connecticut women have known one another for years, but they have never been alone together, never had to handle a trip without their spouses, and never needed to deal with the quiet desperation each has begun to feel as death begins to surround her. As Mrs. Civil and Mrs. Brynne, Diane Day and Doris Hargrave give endearing, heartfelt performances that really make us care about their characters. This Different Stages production, as directed by Norman Blumensaadt, feels almost like a meditation, a quiet journey in which one searches for peace within a landscape of chaos. Unfortunately, that atmosphere sucks the life out of any potential conflicts, and the show never really builds any energy to carry it to its ending. It is as if we're floating down the Ganges, under a beating sun and trailing one hand in the water, too wrapped up in our personal journeys to care how fast the boat is going or whether we'll have enough power to make it to the end. (Adrienne Martini) FINAL WEEKEND! Through Feb 15, Thu-Sat, 8pm, at The Acting Studio, 5411 Burnet Rd. Tickets: Pay What You Can on Thu; $11 Fri/Sat. Running time: 2 hrs, 45 min. 454-TIXS.
ROMEO AND JULIET: A RADIO ROMANCE lets you share Valentine's Day with the world's most famous lovers in a staging for the ear. Part of The Public Domain's radio-play series, this Romeo features Michael Stuart, Sonnet Blanton, Craig Kanne, and others playing out the Bard's tragedy with scripts in hand. Following the show, the Public Domain marks its fifth birthday with a free party in its downstairs gallery. ONE PERFORMANCE! Feb 14, Fri, 7:30pm, at Public Domain, 807 Congress. Tickets: $5. 474-6402.
PLAYFEST '97 is here to take kids on fantastic journeys through the magic of live performance. Each week offers a different experience from a different company - from dance by Tapestry to songs and stories by Carl Anderson and Freddy Carnes to shadow puppets by Mary Shaver. This week: Bubble-Mania!, a spectacle of bubbles in all sizes and shapes, created by Casey Carle. Recommended for ages 5-older. Running time: 50 min. Through Feb 16, Thu & Fri, 10am, Sat & Sun, 3pm. Next week: Tales of a Fourth Grade Nothing, an adaptation of the Judy Blume book, featuring the trials of young Peter Hatcher. Produced by Zachary Scott Theatre Center's Project InterAct. Recommended for ages 8-older. Running time: 55 min. Feb 19-23, Wed-Fri, 10am, Sat & Sun, 3pm. All Playfest shows at the Dougherty Arts Center, 1110 Barton Springs Rd. Tickets: $4.50. 454-TIXS.
FRONTERAFEST '97 has arrived, and with it over 50 short performances, staged by hundreds of Austin's leading theatre artists, plus guests Laurie Carlos of New York City and Mauricio Cordero of Boston. This year, Frontera@Hyde Park Theatre's annual performance jamboree is bigger than ever, running a full five weeks, with festival entries - as always, 25 minutes or less - running Tuesday-Friday; each week's "best" work, as chosen by guest judges, rerun Saturday, and the "Best of the Fest" presented Feb 18-22. Featured artists - visitors Carlos and Cordero and locals Amparo Garcia, Daniel Alexander Jones, Jason Phelps, and Steve Tomlinson - perform in extended slots weeknights, with some offering workshops (see Theatre Classes, Etc below). Every show is an adventure; highly recommended. This week features: Feb 13, Thu - Lou Rigler; Kalila Homann; Lisa D'Amour; Mauricio Cordero. Feb 14, Fri - Scott Wilcox; Maureen Sullivan; Joy Cunningham; Mauricio Cordero. Feb 15, Sat - Best of the Week. Feb 18 & 19, Tue & Wed - Best of the Fest. Feb 20, Thu - Wild Card Night. Through Feb 22, Tue-Sat, 8pm, at Hyde Park Theatre, 511 W. 43rd. Tickets: $8. 454-TIXS.
Casey Carle presents Bubble-Mania at the Dougherty Arts Center, running through Feb 16 during Playfest '97
GUYS AND DOLLS mix it up with much Damon Runyon-esque moxie and mirth in this classic Frank Loesser musical. We'll be seeing it a lot this year; four local productions are scheduled for 1997. The first comes from the IBM Austin Show Biz Club. Feb 14-16, Fri & Sat, 8pm, Sun, 3pm, and Feb 21-23, Fri, 8pm, Sat & Sun, 3pm, at the Reagan High Auditorium, 7104 Berkman. Tickets: $8 in advance/$10 at door. 244-1716.
PETRA'S PECADO has put her in a pickle: For confessing her sin, this owner of a small tortilla factory in a little Texas town must direct a play about the Virgen de Guadalupe. What sin? Local playwright Ruperto Reyes provides the answer in this comedy that played to sold-out houses in San Antone last year. Teatro Humanidad Cansada brings it to Austin. Through Feb 23, Thu-Sat, 8pm, Sun, 3pm, at the Santa Cruz Center for Culture, 1805 E. Seventh. Tickets: $5 Thu; $10 Fri/Sat ($7 seniors, students, children, ACoT). 478-9717.
LIFE IS A DREAM but how does a young prince, unfairly imprisoned by his fearful father, "awake" from it to take his rightful place in the world? That's the question facing Segismundo, whose great spiritual journey in this Pedro Calderon de la Barca play is the basis for one of the greatest dramas of Spain's Golden Age. Lou Rigler is guest artist for this Mary Moody Northen Theatre effort; Melba Martinez, MMNT artistic director, directs. Feb 18-Mar 2, Tue-Sat, 8pm, Sun, 2pm, at MMNT, SEU campus, 3001 S. Congress. Tickets: $10 ($8 seniors, $5 students). 448-8484.
JULIUS CAESAR Imagine a volcano on the verge of eruption - thunder rumbling underfoot, earth shuddering with pressures barely contained, air fouled with the scent of sulphur, escalating heat and tension everywhere - and you have the Rome of Julius Caesar. Certainly, that's the antique Rome in this VORTEX Repertory Company production of Shakespeare's drama. The streets teem with men in a highly agitated state, quick to anger or be incited to anger. Resentment runs hot in the veins of many, and, fevered by it, they draw knives to settle scores. The atmosphere throughout the city is turbulent, only an act away from violent anarchy.
For anyone whose images of this tragedy are limited to stiff patricians in starched togas bloodlessly droning on about honor, here is a Caesar to see. Director Barry Pineo charges the tragedy with the tension it deserves. His actors - an unusually well-rounded group given the number - glower and bark and bristle at each other with vigor, and when they aren't wrangling in raised voices onstage, they're doing so offstage, their shouts from outside the theatre adding an underscore of disturbance. The Bard's words come from their mouths clearly and cleanly, but flavored with fire, so we glean both the sense of these Romans' disputes (and the often frightening rationales they use to justify their bloody deeds) but also the acrimony that spurs them on.
At the heart of the tumult is Caesar, played by Steve McDaniel with an iron spine and a glare of ice, a man whose conqueror's will and aloofness of mien could well inspire charges of arrogance and ambition. As Cassius, a Roman who takes the lead in leveling such charges, David Jones exudes bitterness; his stare is black and poisonous, his tirades against Caesar sting with venom. Cassius is able to persuade Brutus to join him to betray Caesar, but as Douglas Taylor makes plain in his portrayal, Brutus hardly embraces the role of conspirator; Taylor's face is clouded, stricken with the torment of conscience, of doing a thing that may be necessary but not necessarily right.
When the conspirators strike, killing Caesar in the Senate, the act gives full vent to the turmoil in Rome, and the citizens, spurred by Caesar's friend Marc Antony - Andrew Criss, reveling in the act of loosing havoc upon the city - turn savage mob. Pineo depicts this in a strikingly theatrical scene that jolts us with pure brute force. Indeed, here, force is the order of the day. Save for the naked heart wrenchingly exposed in Johanna Whitmore's Portia, we're treated to precious little tenderness. That may account for some of the distance we feel from these characters when they die. In the end, they seem men undone by the relentlessness of their rage, and in that we may find little sympathy. That does not mean that their drama is dry or uninvolving. It seethes and erupts, nearly scalding us with its heat. (Robert Faires) Through Mar 9, Thu-Sun, 8pm, at Planet Theatre, 2307 Manor. Tickets: $12 ($9 w/discount). Running time: 2 hrs, 20 min. 454-TIXS.
YOU CAN'T TAKE IT WITH YOU is the credo of the Sycamore household, that refuge of daffy misfits created by George S. Kaufman and Moss Hart. In 60 years, the American theatre has yet to produce a more endearing bevy of oddballs, and Live Oak Theatre at the State revives them with Tom Parker, Janelle Buchanan, Melanie Dean, John Hoff, Steve Shearer, Lara Toner, and Cyndi Williams starring. Michael Hankin directs. Feb 14-Mar 9, Wed-Sat, 8pm, Sun, 6pm, at the State Theatre, 719 Congress. $15 Wed/Thu/Sun; $17 Fri/Sat ($2 discounts seniors, students). 472-5143.
RUTHLESS! THE MUSICAL I hate musicals. With a passion. All those pathetic little red-haired orphans, feuding farmers and cowhands, amazingly thin dancers in cat suits, and Von Trapp brats, ready to sing their innermost desires at the drop of a tap shoe. Ruthless! The Musical is a musical hater's greatest joy. Creators Marvin Laird and Joel Paley have left no sacred musical cow unkicked in this romp through the world of backstage mothers and backstabbing divas. The show feels as if trailers carrying bus-and-truck tours of The Bad Seed and Little Shop of Horrors, driven by John Waters and RuPaul, collided on a dark freeway. The Zachary Scott Theatre Center production bolsters Laird & Paley's hoot of a script with a fantastic cast. Meredith Robertson's Judy Denmark, mother of Tina, an Andrea McArdle in training, is flawless. Joe York, as Sylvia St. Croix, again proves he's more than a pretty face - this fella can sing, step, and milk a moment for every last drop of humor. Maddie Gatling as Tina, the child star wannabe you love to hate, can hold her own with these talents, a tribute to her as well as the ministrations of director-choreographer Dave Steakley. Steakley, the man who put the Bee in hive and Forever in plaid, has worked his musical magic again, creating yet another musical even musical haters can enjoy. (Adrienne Martini) HELD OVER! Through Mar 16, Thu-Sat, 8pm, Sun, 2:30pm, at ZSTC, Kleberg Stage, 1421 Riverside Dr. Tickets: $18 Thu/Sun; $20 Fri/$22 Sat. Running time: 2 hrs, 15 min. 476-0541.
SHEAR MADNESS A show does not make it through 400 performances, like Shear Madness at the Zachary Scott Theatre Center, unless folks come see it again and again. Folks keep coming to this Marilyn Abrams/Bruce Jordan brainchild because the show can be quite different every time you go. The audience is asked to solve a crime committed in Tony Whitcomb's salon, and the ending is determined by audience vote. For this revival, director Alice Wilson has assembled a great cast. Patricia Wappner, as blue-haired stylist Barbara, positively sparkles, and so do Leslie Bonnell's costumes. David Stokey's Eddie Lawrence oozes across the stage while Sylvia Reeves' Mrs. Schubert bristles along behind him. Ever-confident Dan Sullivan and twitchy Jesson Hunt seem prepared for whatever Jeff Shaevel's over-the-top Tony can throw at them. The show may not deal with the deep issues facing late 20th-century man, but it is a carefully crafted and slickly produced hoot that will make you forget about all of those problems for a few hours while you watch a cast having a great time discovering who did commit a "murder among the curlers." (Adrienne Martini) HELD OVER! Through Mar 16, Fri & Sat, 8pm, Sun, 2:30pm, at ZSTC, Whisenhunt Arena Stage, 1510 Toomey Rd. Tickets: $18 Sun/ $20 Fri/$22 Sat. Running time: 2 hrs. 476-0541.
GHOSTLY DREAD AT THE DRISKILL sets the Capital City Mystery Players' new comedy whodunit among the supposedly haunted halls of the historic Austin hotel. It's a "spirited" way to enjoy a four-course dinner in an elegant local landmark, match your wits against some of the city's savviest performers, solve a crime, and have a good time. Ongoing, Sat, 7pm, at the Driskill Hotel, 604 Brazos. Tickets: $45. 474-5911, x5236.
CAFE BREMOND offers cabaret in a cozy setting, with wine, beer, and appetizers worthy of a fine restaurant served up with renditions of pop and show standards that are stylish to the point of rapture. This week, enjoy the flair of Karen Kuykendall & Sterling Price-McKinney. Sun, 6pm, at Bremond House, 404 W. Seventh. Tickets: $10. 482-0411.
LATER AT LIVE OAK CABARET offers uptown musical entertainment into the lobby of the State, courtesy of Live Oak Theatre. It's a weekly show of jazz, swing, and musical theatre by a rotating roster of fine entertainers. This week, it's sublime songs from two of Austin theatre's finest artists: Joe York & Meredith Robertson, accompanied by Brad Shelton and Allen Robertson. Boni Hester hosts. (To audition for the cabaret, call 800/393-4113.) Saturdays, 10:30pm, at the State Theatre, 719 Congress. Tickets: $5. 472-5143.
KGSR 107.1 Weekly Theatre Update is on every Thursday morning with Kevin Connor. At 8am, Chronicle editor Robert Faires discusses what's happening in the week in Austin theatre.
Theatre Classes, Etc.Comedy Tonight features Abby November's Comedy Angels (with Boys) performing to benefit the Austin Circle of Theatres. Tom Hester, Bernadette Nason (Educating Rita), Laura House, Corky Pumilia, Jody Kelly, and Kaye Ahtic joke it up Feb 16, Sun, 7pm, at the Zachary Scott Theatre Center, Kleberg Stage, 1421 W. Riverside. Tickets: $5 in advance/$7 at door. 454-TIXS.
Austin Theatre for Youth Seeks Faculty for their Summer Academy. Needed: artists experienced in working with young people and teaching theatre (acting, movement, voice, improvisation, or stage technology). Directing experience a plus. Session runs Jun 2-28. Salary competitive. Also, teachers needed for creative drama classes for children 5-7, Jul 7-Aug 1. Deadline: Feb 28. Send cover letter & resumé to: Austin Theatre for Youth, PO Box 26794, Austin, TX 78755.
FronteraFest '97 Artist Workshop Series lets Austin artists learn from and work with the fest's featured performers in a workshop setting. Next workshop: Mauricio Cordero leads "Get Up Off Your Ass & Make Some Art!" Feb 15, Sat, 11am. Hyde Park Theatre, 511 W. 43rd. Cost: $12 ($10 multiple workshops). 419-7408, x9.
The Actor's Place, a studio for professional, intermediate, and beginning actors, offers The Actor's Class, an eight-week scene study course for the professional/working actor. Feb 17-Apr 7, Sun, 6:30-8:30pm. Cost: $190 (two-for-one w/a friend). 2810 S. First. 490-7138.
Acting Classes With C.K. McFarland offer actors and writers a unique approach to character development, performance skills, and artistic vision. Eight-week class begins Feb 18. 441-3738.
Linda White Loyd offers private acting lessons, beginning to advanced levels, in stage, film, and commercial work. A member of Equity and SAG, Loyd has studied with Lee Strasberg and worked with Woody Allen and Martin Scorsese. 447-1281.
Edmond, a play by David Mamet: Feb 13, Thu. Roles available: six men, three women, all ages and races. The roles of Edmond and Edmond's wife have been cast. The production is being directed by Ken Webster (Sin) and will run Apr 24-May 17. Produced by Subterranean Theatre Company. By appointment. 469-9118.
AuditionsDeep in the Heart of Texas, a musical for young people: Feb 15 & 16, Sat & Sun, 1-4pm, at All Saints Episcopal Church, 209 W. 27th. Roles available: four men, three women, 25-50, various ethnicities. Actors should prepare a song; bring sheet music & resumé/photo, and be prepared to do simple dance steps. The production will run in April (daytime performances) at the Dougherty Arts Center. Produced by Children of Light Players. By appointment. 320-7169.
