(:)(:)(:)(:) for Three Days of Rain at the Capital Stage in Old Sacramento now playing through May 13th. This play is the first I've seen from a relatively new professional theater company in Sacramento, the first such new ambition in years, now in its second season. If this play is any indication, the company is an answer to my prayers.
Currently housed in the modest theater on the Delta King, the limits of the space are obvious. Yet, in Three Days of Rain by Richard Greenberg, the production house has chosen to stage a darkly funny one set play with only 3 actors (playing 6 parts, by clever design)--perfect for the space.
The play itself is well-written, playing with familiar themes of family legacy, secrets, and assumptions--definitely influenced by the plays of Sam Shepard, but lighter, and New Yorky.
The play was well-staged and well acted with an exceptionally strong performance by Johnathon Rhys Williams. Williams and the other male actor Gillen Morrison easily outshadow the only non-Equity actor, Megan Smith playing the role Julia Roberts starred in on Broadway (who, while famous, has never displayed any but surface level acting ability in any vehicle I'm aware of).
Gillen Morrison's choices in the second act work but were a bit too close to Russell Crowe's interpretation of John Forbes Nash in A Beautiful Mind for my taste.
Still, the whole experience is delicious compared to almost anything I've seen at the B street Theater (exception: Copenhagen a few years back). And the season ticket prices for next year are wickely low--$55 for 5 plays (normal price is $22 a ticket). I'd encourage all Sacramentens to run not walk to this production and future ones. Important to support local theater.
Showing posts with label Berkeley Rep. Show all posts
Showing posts with label Berkeley Rep. Show all posts
Monday, April 23, 2007
Monday, March 05, 2007
Four Snouts up for the Pillowman at Berkeley Rep
(:)(:)(:)(:) for The Pillowman by Martin McDonagh which just closed (sob) at the Berkeley Repertory Theatre.
Oh. My. God.
Where has McDonagh been on all my life? After dropping out of school at 16 and lying around watching television and drinking beer for 20 years, this amazing young (London working class) Irish playwright cranked out 7 plays in one year--five of which have been produced to critical acclaim in the London West End and Broadway.
I absolutely loved this play, but, as the usher who tore my ticket warned, it's not for sissies. This alternately cruel, hilarious and tragic "something-esque" piece defies categorization. Many of the audience members hated it. Several left at intermission.
Admittedly, it's hard to take the vivid descriptions of cruelty, dismemberment and horror to children--fortunately, it's supposed to be. However, the clever patter, smooth direction, brilliant writing and acting of this production allowed this viewer to simultaneously be horrified, drawn in, concerned and yet strangely distant from the material.
For me it helped a lot that the playwright cleverly frames the narrative so as to cast doubt on whether several of the horrors are real or only imagined--and you don't have to see most of them, just hear about them.
I for one, can't wait to see/read more McDonagh. The only other playwright that he reminds me of a bit is my erstwhile college friend Gordon Dahlquist--I played a violent lesbian pirate in his play Dangercave many years ago, but that's a different post.
Oh. My. God.
Where has McDonagh been on all my life? After dropping out of school at 16 and lying around watching television and drinking beer for 20 years, this amazing young (London working class) Irish playwright cranked out 7 plays in one year--five of which have been produced to critical acclaim in the London West End and Broadway.
I absolutely loved this play, but, as the usher who tore my ticket warned, it's not for sissies. This alternately cruel, hilarious and tragic "something-esque" piece defies categorization. Many of the audience members hated it. Several left at intermission.
Admittedly, it's hard to take the vivid descriptions of cruelty, dismemberment and horror to children--fortunately, it's supposed to be. However, the clever patter, smooth direction, brilliant writing and acting of this production allowed this viewer to simultaneously be horrified, drawn in, concerned and yet strangely distant from the material.
For me it helped a lot that the playwright cleverly frames the narrative so as to cast doubt on whether several of the horrors are real or only imagined--and you don't have to see most of them, just hear about them.
I for one, can't wait to see/read more McDonagh. The only other playwright that he reminds me of a bit is my erstwhile college friend Gordon Dahlquist--I played a violent lesbian pirate in his play Dangercave many years ago, but that's a different post.
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