Dirty Story at Intiman Theater - Theater Review

Shawn Law, Allen Fitzpatrick and Carol Roscoe

Question : Have you ever seen a woman in the front row of a theater, bend forward to put her face between her knees and cover her ears with her hands so she won't see or hear anything that is coming in the following potentially disturbing sequence of events on stage? Have you then seen that same woman, after intermission, laughing uproariously with the rest of the audience at the hilariously ridiculous antics that the play and its players are presenting? If you have, then you were fortunate enough to be at the Intiman Theatre's studio space this past Friday night, enjoying the vastly entertaining production of John Patrick Shanley's 2003 play Dirty Story with me.

While certainly extreme, this woman's physicalized reactions are the perfect way to frame the experience of witnessing this play. Brutus (Shawn Law) and Wanda (Carol Roscoe), who we meet, and who meet each other in Act 1, start their relationship with barbed tension and allow it to develop into frightening physical and psychological abuse. But shortly before intermission, broad and most welcomed comedy bursts through the door and announces that nothing we have seen so far is quite what we thought. When we return to Act 2, our expectations have been thrown out the window and we are taken on a wild ride that includes an overweight cowboy as Uncle Sam, a British bartender who seems to have walked in from a a Beckett play, ballroom dancing, a hilarious duet of "You Light Up My Life," slow motion stage combat and some of the best comic timing I've seen on stage in  a while, all in the name of global politics.

Director Valerie Curtis-Newton

If it all this sounds a bit like a mess of a play, well it kind of is. John Patrick Shanley is really pushing his metaphors and symbolism here and not all of it comes together. But under Valerie Curtis-Newton's tight meticulous direction, the evening moves at the perfect pace. The conviction and commitment of the cast to the material, in both its silliness and its import, keeps us fully invested throughout. The design team, with a smart, clean and imaginative set by Jennifer Zeyl and transformative lighting and sound by LB Morse and Matt Starritt respectively, really help focus the, at times, three ring circus of a script.

Quinn Franzen and Allen Fitzpatrick

The charming Quinn Franzen as Frank and the outstanding Allen Fitzpatrick as Watson, have such great comic timing together, that I'd love to see them cast together again in a similar Vladimir and Estragon type of relationship in the future. Carol Roscoe is pitch perfect as Wanda/Nipples/Israel, carefully navigating her character's evolution from wide-eyed and hopeful apprentice to militaristic and pious warlord. Only Shawn Law's portrayal of Brutus fell flat for me. He seemed possessed by a manic anger that didn't seem called for by the script and never found a grounded focus on stage.

With classics like Hedda Gabler and Romeo and Juliet and such a great name like Dan Savage associated with Miracle!, it would be easy for Dirty Story to be the least noticed production at the Intiman Theatre Festival. I hope that is not the case. This is a fun and wonderfully executed production that deserves to be seen by a wide audience.

Dirty Story plays as part of the Intiman Theatre Festival through August 25th tickets here

Hedda Gabler at The Intiman Theatre - Theater Review

It is hard to be critical of a play that has so much going for it. When you see so much strong artistic talent on display (a sleek well balanced and visually arresting modernist set; energetic, committed and assured performances from a number of excellent actors; bold choices with established plot points and line deliveries that jar and reawaken even the most tenured Ibsen aficionado) you are expecting and even rooting for a solid, if not, excellent production of a play.



Timothy McCuen Piggee and Marya Sea Kaminski

Unfortunately, despite all elements mentioned above( none of which are thrown out lightly - these are clearly extremely talented artists at work) this production of Hedda Gabler leaves its audience confused, frustrated and, dare I say, at times, even bored, as Hedda herself is so desperately trying not to be.



Ultimately, the problem here is context. On its most simple level, Hedda Gabler works when the societal constraints set upon Hedda, are most clear. She is from a very established family, she is used to the finest things, she expects greatness in her life, but all the world around her expects for her to be simply a mother and a good wife. She is not cut out for this world. Neither is Nora from Ibsen's A Doll's House. Its been said that Hedda is the Nora who does not slam the door at the end of her play. Nora slams the door and walks onto some kind of new life. Hedda doesn't see that as an option. She feels trapped at the beginning and the cage closes in on her as the play progresses.


In this production, Marya Sea Kaminski (giving a fully invested skillful and attention grabbing performance) in the role of Hedda, plays her, from the start, as the standard definition of a psychopath. She has no empathy, is impulsive, is manipulative (beyond the script's requirements), lacks guilt, and has superficial charm. This portrayal is heightened by the director (Andrew Russell) and choreographer (Olivier Wevers) need to have her perform odd jittering hand gestures that are accompanied by classic "psycho" type music when other characters aren't watching : is she reaching for those guns locked in the box at the other end off the room; is she trying to stop herself from lashing out violently at her husband or their friends and neighbors? It doesn't matter, because the moments are too isolated and fleeting to be integrated into what, in may other ways, is a very straight forward performance.


Ryan Fields and Marya Sea Kaminski


Therefore, we don't get any vision as Hedda as the romantic that she is. She wants greatness and beauty in life and, if not, greatness and beauty in death. Hedda must at some point in the play attempt to try to live with her circumstances, even if just for a moment. She needs to try to find something that will allow her to avoid her eventual suicide. Otherwise she would do it much earlier. The fact that she doesn't have the will and full reasoning to kill herself earlier in the play (much like Hamlet doesn't at the beginning of his play) is part of what gives the play dramatic tension (Ibsen is called the father of the well-made-play for a reason). Director Russell's choice to have Kaminski play Hedda so cold, so flippant and so unaffected, and have so many lines dripping in contemporary irony that the original play couldn't have suggested, distances the audience from her story and diffuses the drama that Ibsen wrote.

Yet Russell's choices with Kaminski could have potentially worked a bit better, had other elements of the production come together. The set, which upon viewing before curtain, was impressive, unexpected and masterfully executed. The depth and height of the space, the coolness of color, the lack of traditional domestic living room drama decor, was exciting and expectation setting. However, once the play began, the ensemble used only the front most 1/3 of the stage for 90% of the play and all action happening behind the gauze put up to divide the stage as well as the action taking place on the elevated platform above and behind the action, could have been eliminated altogether and would have given the audience the same, if not clearer understanding of the play ( I would go as far to say that you could take the same performance put it in a 20' x 20' black box space, loose all the choreography and backstage action, and the play would have even a stronger impact).



Don't get me wrong. Some of the visual tableau's were stunning in their composition. They just had nothing to do with the play we were watching. The best and most obvious example of this kind of misfire, is the final moments of the play where traditionally Hedda, having found herself trapped into a new a hidden, and to her, unacceptable, kind of slavery with Judge Brack, goes to another room and takes one of her pistols and shoots herself. Here Russell and Wevers have Kaminski actually onstage perform a dance moment that is clearly and extension of all those weird distracting gestures from earlier in the play. She battles with herself as she throws herself between the onstage characters who do not notice her distress. Then, in a final moment, she drops, a shot is heard and she reaches out to the audience (nothing even miming her handling a gun has occurred). This unexpected piece of avant-garde interpretation is so out of place and seemingly random in this production that upon leaving the theater I heard someone say "Oh, she shot herself, I didn't get that."



Again. I have no objection to the artistry of the movement sequence itself. Actually, taken on its own, it may have been the most complex and engaging moment of the evening. Yet it had no context withing the rest of the production. The audience applause at the end of the evening was a bit timid in my estimation (remember this is Seattle where it doesn't take much to get a standing ovation). The enthusiasm that was present but scattered in the applause seemed to be for the effort of the actors (again Kaminiski was solidly committed in what she was asked to do and I would get tickets to anything she, the outstanding Timothy McCuen Piggee (Judge Brack) or Ryan Fields (Jorgen Tesman) would be cast in next) but hesitant in its confusion as to what it had just seen.



I am so glad to see Intiman taking bold steps in its reincarnation this year. It is a theater that has brought some great moments to Seattle stages. The artists in this production are clearly worthy to be part of its legacy. I eagerly look forward to seeing more plays in the Festival.

Hedda Gabler plays as part of the Intiman Theatre Festival through August 25 tickets here


Afterthoughts

I haven't seen Romeo and Juliet in this festival yet, but I have to assume that the set I saw in Hedda Gabler was designed more for the Shakespeare production than it was for the Ibsen. I was almost distracted during Hedda, picturing so clearly how those classic scenes from that tragic love story would be staged on this set. It almost seemed as though some of the staging that I found irrelevant (the off stage actors seated above, rising to their feet when their names are mentioned, as if we wouldn't be able to keep track otherwise, etc) was an afterthought - we have all this space from the Shakespeare production, we might as well use it. Clearly one of the trappings of doing a multi-play festival, but I believe this play could have been given a bit more its own world on stage.