Death of a Salesman or the American Dream

by Jenni Morin

With the American dream comes a stark opposing reality, which is so well illustrated in the American classic Death of a Salesman by Arthur Miller. This 1949 play, now in production by the Classic Theatre through February 23, continues to be relevant generation after generation with an abundance of themes that hit close to home, perhaps even more so for this generation than the last.

As Willy Loman returns home from an exhausting sales trip, his family is confronted with his unstable state. A little lost and perhaps unwilling to make of themselves what their parents hoped, Biff and Happy grow concerned about their father while their mother Linda scolds them for not offering to help the man who gave everything so they could be something. Willy drifts between the present and the past, talking to the ghosts of what has been and desperately clinging to intangible promises of a hopeful future. After 35 years as a salesman, he still struggles to pay his bills, but insists success hinges on being well liked. In contemplating his death, he imagines a funeral packed with buyers and salesman as proof of the heroic successful persona he’s created to cope with his failure.

Classic Theatre’s Death of a Salesman boasts a star-studded cast of San Antonio’s finest talent. At the helm is Alan S. Ross as Willy Loman whose performance is near flawless, allowing every twist and turn of his conscience to wrench the audience along. Following suit, Terri Pena Ross as Linda exudes motherly guilt and wifely tenderness as she ferociously defends her husband to her sons. Anthony Ciaravino as Biff sculpts his character’s arc while having a noticeable effect on the audience as they sweat and squirm along with him in a moment of truth and fall pin-drop silent at the crest of the play’s final crescendo. As Happy, Jared Stephens helps move the action along, always offering a jolt of energy to kickstart the next scene.
Uncle Ben, played by David Rinear, felt like an apparition throughout, playing on Willy’s idolatry for him. Byrd Bonner’s performance as Charley was out of sync with the nuanced performances of the rest of the cast. As Charley’s son Bernard, however, Kenneth Lopez remained consistent from flashback to present as the voice of reason and the poster boy for success. The supporting characters and cast held their own, adding to the overall production.

From transitions to overlapping dialogue, Jim Mammarella’s direction was superb. The scene changes were seamlessly choreographed and beautifully underscored by Rick Malone’s impeccable sound design reminiscent of American classic film noir. The soundtrack even spoke to the memory of Willy’s father by featuring the flute. While the lighting design was relatively straightforward, the use of shadow, particularly in the opening scene, was extremely effective. Ronald L. Watson’s set design and Diane Malone’s costume design rounded out this acutely detailed production with touches seemingly as simple as flowered wallpaper in Willy’s bedroom to Linda’s hair bow.

Death of a Salesman in this day and age manifests itself like a commentary on parenting and how it influences a child’s future success. Willy appears to have the perfect life until one solitary moment prompts Willy’s slow unraveling and Biff’s string of failed jobs. Biff ultimately blames his father for blowing him full of hot air so he could never take orders from anyone. His torture is the reality that the phony dreams Willy has for him don’t match up with the person he is and Willy refuses to accept it or himself. With so many stories today about the current generation entering the workforce not being prepared mentally or emotionally for the challenge and impending failure that comes with a job, Biff’s plight is certainly identifiable. Willy, on the other hand, finds empathy for not understanding why his sons didn’t become successful when he did and said all he knew to raise his sons right. Even Linda is baffled by her sons’ detachment and unwillingness to help their father in his time of need. From the education system to social media to entitlement and affluenza, it’s diffucult to place blame, but Willy’s story helps to strip away the modern excuses and rest only on the question of who controls the future.

Miller’s play positions the American dream as largely unfulfilled or unattainable. Willy works his entire life to pay for a house no one lives in and to provide for his sons so they can do better than he could, yet his personal faults and shortcomings seem to hinder the realization of this dream. His seesaw of hopefulness and hopelessness mirrors today’s uncertain future of the American dream and those looking to secure it. This award-winning play challenges our definition of personal success and what, if anything, are we working toward.


Death of a Salesman will run at Classic Theatre’s new venue, the Blackbox Theatre at the Woodlawn, through February 23, 2014 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays. For more information and to purchase tickets, visit www.theclassictheatre.org.

Venus in Fur: Pelts and Power Play

by Jenni Morin

Ever since Leopold von Sacher-Masoch penned his 1870 novel Venus in Furs, his name has been synonymous with masochism and the fascinating subculture practicing sexual dominance and subjugation. Perhaps for further probing, playwright David Ives deconstructed Sacher-Masoch’s work in his 2010 play Venus in Fur, an undeniably ferocious and tantalizing battle of the sexes, now showing at The Playhouse’s Cellar Theater through February 9.

Ives brilliantly uses the play within a play technique to dissect Sacher-Masoch’s story of Severin von Kusiemski and Wanda von Dunajew. As playwright and director Thomas Novachek prepares to leave after a day of disappointing and mindless auditions for the female lead, Vanda Jordan arrives and convinces him to read with her for her audition, despite exhibiting all the unfavorable and aggravating characteristics of the flighty actresses before her. Throughout the audition, Vanda reveals she has more knowledge of the play and its inspiration than she originally let on while simultaneously making her identity more ambiguous. Roles are reversed and the line between the characters’ reality and that of Thomas’ play begin to blur as they succumb to a sultry power play.

Michael Holley as Thomas and Kacey Griffin as Vanda in The Playhouse's Venus in Fur. Photo by Siggi Ragnar.

Director John O’Neill expertly uses space, tone and subtlety to allow this metatheatrical piece to unfold. The dialogue is treated as an intricate dance with mirrors where the characters reflect the roles they’ve adopted and then reflect each other, all along dropping nearly imperceptible clues and feverish anticipation to the inevitable ending. Both Michael Holley as Thomas and Kacey Griffin as Vanda command the stage in their dual roles. Just as a dominant needs a submissive to be complete, these two complement and provoke each other for a titillating and humorous performance. Holley and Griffin maneuver the play’s twists and turns with unbridled boldness.

The set, designed by Abigail Entsminger, is a fitting canvas for Kaitlin Muse’s slow seductive lighting transitions. The evocative hues rise up Wanda’s neck as if mimicking the character blushing, then reality washes over Thomas and Vanda with a florescent imitation just as they approach a point of no return. Combined with Pat Smith’s seemingly coincidental, yet poignant sound effects and Sophia Bolles’ impeccable costuming, the design elements brought the production full circle with great intuition. The Playhouse’s production of Venus in Fur is a rapturous dramatic comedy full of innuendo, insight and seduction.

Thomas and Vanda improvise a scene between Kusiemski and Venus. Photo by Siggi Ragnar.

Ives uses the characters in the play to preemptively reject the anthropological and sociological commentary about S&M and sexual relations altogether. They even broach the issues themselves as Thomas argues for love and binding passion and Vanda insists his script is sexist and a man’s submission is an inherent trick, taking advantage of woman’s fragility. Ives is not looking to make a statement about feminism, gender roles, or even sex, but he does drill other themes of human nature through repetition. He challenges “professed principles” by urging people to admit their nature or change it and insists people have the capacity for freedom by being more easily extricable. With so many parallels between Thomas’ script and the audition dynamic, it stands to reason Ives draws parallels between his characters and the very nature of actors, then extends those parallels beyond the stage, putting a mirror up to the audience. In the end, Ives leaves a few definitive pieces of the play to drive it home: the women of The Bacchae ripping Pentheus to shreds, the biblical quote “And the Lord hath smitten him and delivered him into a woman’s hands,” and finally, Vanda’s line, “You can’t have Venus in Fur without Venus.”


Venus in Fur will run at The Playhouse’s Cellar Theater through February 9, 2014 with performances at 8 p.m. on Fridays and Saturdays; and 3 p.m. and 8 p.m. on Sundays. This production contains strong language and adult themes. For more information and to purchase tickets, visit theplayhousesa.org.

The Mountaintop: MLK the man

by Jenni Morin

At 6:01 p.m. on April 4, 1968, Dr. Martin Luther King, Jr. was shot on the balcony of the Lorraine Motel in Memphis. The day before, Dr. King attended a rally for sanitation workers on strike and delivered his “I’ve been to the Mountaintop” speech, the namesake for Katori Hall’s 2009 play The Mountaintop now playing through February 9 at the Little Carver Civic Center Theatre presented by The Renaissance Guild and The Carver Community Cultural Center.

The Mountaintop is a fictional account of the civil rights leader’s last night on the eve of his assassination. As King (Kevin Majors) awaits a pack of Pall Mall cigarettes to be delivered by fellow activist Ralph Abernathy, he meets Camae (Jessica Mitchell), a maid who brings him coffee and news about his fate. While a storm rages outside his motel room, King checks for wire-tapping and recording devices, making sure each boom of thunder hasn’t left a gunshot wound in his chest. He attempts to cope with his paranoia, but his 60-year-old heart in his 39-year-old body can hardly take the stress. Luckily, Camae is there to remind him, and the audience, of the great man’s humanity and humility with a large dose of saucy, at times seductive, humor. She flirts and cusses and brings out his tendencies uncharacteristic of a preacher.

Kevin Majors takes on the role of King with respect and reverie. He easily transitions from King the preacher/performer with affected speech, to King the man who is smooth talking around women like Camae. Jessica Mitchell brings life to Camae as a steady force. Despite some trouble with the script’s poor grammar vernacular in the beginning, she grew more confident alongside her character. Her excellent comedic timing and priceless expressions kept Majors and the audience on their toes. Majors and Mitchell’s on stage chemistry is undeniable as they feed off of one another’s energy. Even as realism begins its progression to the mystical, the consistency of their acting makes the shift almost imperceptible, keeping the audience engaged throughout the 90-minute piece.

The production features a set true to the actual room 306 where King often stayed at the Lorraine Motel while archived recorded speeches set the tone. The sound design is well devised and executed and accompanied by appropriate lighting. The closing sequence of historical video and photos underscored by a beat poetry like chant of activist events and people serves as a powerful call to action as “the baton passes on.”

The script unearths the eerie foreshadowing that insinuates King knew and was prepared for his assassination, while tackling a nearly crippling fear of its inevitability. Before leaving for Memphis, he gave his wife artificial flowers to last longer while he was away and his speech, which opens the play, detailed how he was not afraid of any man and may not reach the promised land with his followers. Conspiracy aside, Hall’s play reintroduces King as a man, a mortal, with weaknesses and failures.

As we celebrate Martin Luther King Jr. Day, The Mountaintop reminds us of the man behind the movement. Although he was only human, he spoke for those without a voice and peacefully affected change. The Mountaintop takes King from his pedestal and puts him among the people, so we may realize we’re not so different after all and we can make a stand and just maybe pass the baton.


The Mountaintop will run at The Little Carver Civic Center Theatre through February 9, 2014 with performances at 8 p.m. on Fridays and Saturdays and 4 p.m. on Sundays. This production contains strong language and the use of herbal cigarettes. For more information and to purchase tickets, visit www.therenaissanceguild.org.

Down the Rabbit Hole

by Jenni Morin

In an intimate setting, The Rose Theatre Company stages Rabbit Hole, an up-close-and-personal look at grief, playing through Nov. 30. David Lindsay-Abaire’s 2007 Pulitzer Prize winning drama peers into the lives of Howie and Becca Corbett eight months after losing their 4-year-old son, Danny, in a tragic accident.

Jessie Rose as Becca and Jane Bull as Nat in Rabbit Hole.

Rabbit Hole is as much about guilt as it is about grief as the family tries to find a new balance to counteract the loss of a child. Becca’s sister finds herself pregnant less than a year after Danny’s death, while their friends Rick and Debbie, who have a daughter the age of Danny, find it hard to console the couple. Jason Willette, the teenager who hit and killed Danny, carries his guilt with him as he tries to justify the tragedy to himself and the Corbetts. Event Becca’s mother, Nat, feels a bit of guilt at not being able to comfort her daughter and help her get over her grief that she admits will never really go away. At the height of it all is Howie and Becca’s guilt over not being able to prevent it. Herein lies the opportunity for commentary on the state of preventable child deaths.

While the actors had their moments, only a few of them aligned with the moments in the script. There were several missed opportunities throughout the action to capitalize on subtext. Becca is a bit uptight, which is what makes her steady unraveling so captivating. Jessie Rose took a different approach playing Becca that made her seem much more unstable, taking to heart the psychological effects her family fears. Jon Smith played opposite Rose as Howie on the brink of several emotions, which allowed him to create a well-structured arc throughout the action. Jenny Fisher as Becca’s sister, Izzy, gives a decent performance while Jane Bull as Nat fully takes advantage of some gem one-liners and a great scene with Becca where Nat is able to connect with her daughter. Rocky Bronco portrayed Jason Willette in his character’s introductory scene as almost too young, but provoked the empathy he needed. In his later scene, he comes off more nerdy and socially awkward than what makes sense in the script. As a whole, the ensemble felt genuine, but held back, impeding their ability to command the stage.

The production quality is low with most of the design elements more utilitarian than enhancing. The set felt like a hodgepodge of required properties, giving an inaccurate reflection of the Corbett’s home. While the music chosen for the scene changes was fitting, it lost most of its appeal when repeated for each interlude. The technical aspects lacked direction and disrupted the momentum the actors worked to achieve.

Beyond the emotions on the surface, the play also touches on famed literature, quantum physics, Greek mythology and pop culture history. Abaire expertly weaves each of these themes into the play as a way for the characters to cope with their loss and find a semblance of understanding and hope that will allow them to carry on. Rabbit Hole is a fantastic work of theatre literature that all audiences should experience. While this production may not quite do it justice, it’s still a respectable rendition of this eloquent yet simple story.


Rabbit Hole will run at The Rose Theatre Co. through November 30, 2013 with performances at 8 p.m. on Fridays and Saturdays. For more information and to purchase tickets, visit www.therosetheatreco.com.

Taming: A veritable shrew indeed

by Jenni Morin

Shakespeare has a tendency to be watered down with overt adaptations, so it is refreshing for a company to be so bold as to mount a production faithful to the original script. The Classic Theatre has done just that with its production of The Taming of the Shrew, now showing at the Sterling Houston Theatre at Jump-Start through November 24. Without question, The Taming of the Shrew is one of Shakespeare’s most popular comedies with commedia dell’arte influence and a timeless tale of young love. It’s also often used as a commentary about the role of women in society and relationships, particularly marriage. With current legislation, in Texas specifically, it takes on an added layer as Katharine shoulders the fight.

Roy Bumgarner and Morgan Clyde as
Petruchio and Katharine.
Photo by Dwayne Green.

This Taming takes place in 16th century Italy where we meet Baptista, who is trying to marry off his two daughters, the fair Bianca and the shrewish Katharine. As Katharine is the oldest, Bianca’s marital fate relies on the wooing of Kate, so Bianca’s suitors Hortensio, Gemio and the young Lucentio convince the audacious Petruchio to take on the challenge. As with any good classic comedy, there is mistaken identity, a lot of cunning, plenty of physical comedy, and, of course, weddings.

Director Diane Malone, who also designed the set and costumes, gifts San Antonio with a wholly authentic production that would have made Shakespeare himself proud. Billy Munoz’s lighting is subtle, yet effective, allowing the cast to draw attention with their words and actions rather than a spotlight. In the same vein, the sound design of Rick Malone marks a few key points in the storyline, which helped the audience catch some defining moments. The production stripped away the pomp and circumstance usually accompanying Shakespearean comedies to let the script speak for itself.

Shakespeare’s tongue-lashings, spankings and physical comedy were not lost on this cast with each actor finding a way to differentiate one wordy speech from the others. While there are some awkward moments as the servants fall over themselves without precise comedic timing, it is clear they are not merely copies of the archetype. Joseph Urick especially excels as his Tranio takes on the guise of his master Lucentio with an over-the-top bravado. He is surpassed, however, by the sneering suitor Gremio, played by Richard Solis. Even still, John Stillwaggon’s Grumio makes a great first impression in “knocking” his master Petruchio, while Maggie Tonra as Biondello serves as a great messenger advancing the plot with a fantastic gait.

Christie Beckham’s Bianca seems closer to the intended character than many others in the past and James Welch certainly pulls off Lucentio daft about Bianca. Torence Brandon White has some great moments as Hortensio. Not to discount any performance, all the players perform well, each allowing their parts to contrast with the leading couple’s.

But the play would not be without the shrew and the man tasked with taming her. Morgan Clyde and Roy B. Bumgarner II portray Katharine and Petruchio, respectively, with a welcome touch of realism. At times their caricatures shown through, but it is their exchanges that draw audiences back. Clyde embodies the quick wit required of a Kate while Bumgarner whole-heartedly throws himself into the role of that brazen woman conqueror. It is the evolution of their relationship that makes this production, most notably that Katharine never loses her tenacity even during her closing speech.

Through the final “goodnight,” Classic’s Taming is a veritable representation of the Shakespearean play. By shedding most of the distracting elements other productions hide behind, this rendition focuses on accurate costuming and the raw wit and comedy laid forth in the script. Classic’s Taming is rich in talent and authenticity, a truly legitimate Shakespearean production.


The Taming of the Shrew will run at The Sterling Houston Theatre at Jump-Start through November 24, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays. For more information and to purchase tickets, visit www.theclassictheatre.org.

Wittenberg: A Captivating Hamlet Prequel

by Jenni Morin

San Antonio playwright David Davalos returns for The Playhouse's Cellar Theater production of his Wittenberg, playing November 1 through November 17. Wittenberg poses a debate between Martin Luther and John Faustus that would make anyone a little head-spinning mad and Hamlet, the impressionable scholar questioning his life’s purpose, is no exception.

David Davalos as John Faustus, Sam Mandelbaum as
Hamlet and Andrew Thornton as Martin Luther in Wittenberg.
Photo by Siggy Ragnar.

Wittenberg places three characters from history, literature and folklore at the university where Hamlet presumably studied before his father’s death. The action takes place directly before he receives the news. Martin Luther is a professor of theology, while John Faustus is a professor of philosophy. Luther and Faustus entangle Hamlet in their debate while he clamors to find himself in the universe and get his bearings.

The production follows the anachronistic nature of the play where a few modern props, set decorations, costume pieces and colloquialisms call attention to the imagined scenario. Without these few reminders of the mixed time periods and metatheatrical references, it’s easy to fall into believing it is more historical than fictional. Director Bill Gundry reverently molds this well-crafted play and talented actors into a refreshingly provocative production. From a technical standpoint, the lighting had a few visionary moments while the sound felt haphazard and almost distracting. The transitions between scenes were uninspired and executed poorly when blending light and sound.

Sam Mandelbaum as Hamlet. Photo by Siggi Ragnar.

While Davalos employs some classical rhythm and exchanges, paying homage to Hamlet’s author, the dialogue resists being weighed down by the classical tongue by utilizing modern phraseology. The audience is pulled back and forth in a welcomed juxtaposition between the past and the present. The incessant questions of “why?” and “what if?” proliferate the action, making for fast-paced exchanges, both humorous and stimulating.

As expected, Davalos commands his role as Faustus with resilient passion, presenting a bombastic provocateur with a human vulnerability. Overall the cast shows true investment in the characters, not just their lengthy diatribes. Consider this Sam Mandelbaum’s audition and scene work for the role of Hamlet, a character he brings to life in the present beyond Shakespeare’s confines. As always, Andrew Thornton is brilliant as Martin Luther, illustrating his struggle perpetuated by the naturalistic parley with Davalos. While Christina Casella must take on all the female roles as The Eternal Feminine, it is her second scene as Faustus’ lover when she spends the most time on stage and is able to showcase her talent.

David Davalos’ Wittenberg is witty, insightful and cheeky. Best of all, this piece is always timely, asking the questions of faith and reason, pitting theology and philosophy against each other in a match of interpretation and the unknown. It stands on the cusp of scientific and philosophical discovery—the revolution of the solar system, the birth of psychology, and the Protestant reformation, to name a few—all the while making convoluted ideas accessible.



Wittenberg runs at The Playhouse’s Cellar Theater November 1 through 17, 2013 with performances at 8 p.m. on Fridays and Saturdays; and 3 p.m. and 8 p.m. on Sundays. For more information and to purchase tickets, visit theplayhousesa.org.

Les Misérables: "What your sacrifice was for"

by Jenni Morin

Les Misérables, playing at The Playhouse through November 3, 2013, is a multiple Tony winning musical by Alain Boubil and Claude-Michel Schonberg adapted from Victor Hugo’s 1862 novel by the same name. The novel, one of the longest in history, touches on several themes from politics to romance to justice to morality. The 2012 film version can be credited for a sort of resurgence of the musical with a 2014 Broadway revival in the works. The production at The Playhouse is high energy and fast-paced spurred by the vigor and spirit of rebellion.

Photo courtesy of The Playhouse, credit Siggi Ragnar.

Les Misérables follows the life of Jean Valjean and his struggle to overcome his past as a prisoner on a chain gang and become a respectable man. Due to the kindness of a priest, he is able to move beyond his station and continue to do good by taking in the daughter of a former employee who he discarded and consequently died. As he attempts to escape his past, it catches up with him in the form of the indefatigable police inspector Javert.

Hugo’s work leads up to the 1832 June Rebellion when, propelled by moral justice and redemption, the wretched poor of Paris rise up to escape the hell on earth the “civilized” government has created. The current government shutdown is a serendipitous reminder of the relationship, or lack thereof, the people have with their government. The clear delineations between the bourgeois and the poor are apparent and a stark contrast to the tragic circus of the bacchanalian desperation played out in the Thenardiers’ scenes. After the rebellion, the dead remain and their sacrifice feels left unanswered except for the fortunate few—a great commentary on today’s political climate, what incites rebellion and what it means to fight for freedom.

Hats off to Tim Hedgepeth for impeccable casting and directing in this production. While it is difficult to not compare this production to the recently released film, it is clear this cast is better matched. Where the movie fell short, this production picks up the slack. The appropriately broken and seemingly unfinished pieces of Alfy Valdez’s set frame the production. Costumes, designed by Raul McGinnes and Yvette Oakes-Crabtree, border on perfection, fitting the characters and the actors well. Terry Price’s lights shed light and cast shadows subtly. Choreography blends well into the action of the production. Even the sound effects are on point. Music director Andrew Hendley expertly melds the orchestral tones with his vocalists, so much so that it almost sounds like a recording.

Operatic voices dominate this cast, once again bringing together some of the most talented singers and actors in San Antonio. The younger cast members have some great theatrical role models to glean technique from to gain that endearing and occasional pity their characters’ require. The cast overall gives great performances. Jason Mosher as Jean Valjean and Jessie Enderie as Javert especially triumph over the script’s sing-song speech. Mary Morrow as Fantine, Constanza Aileen as Cosette and Carlye Gossen as Epinine fervently play their parts, leading the women through the revolution. Trevor Chauvin charmingly plays the romantic and loyal role of Marius, while his counterpart Chris Berry as Enjolras bravely leads the rebellion with unwavering zeal. Not to be forgotten and impossible to miss are the riotous cirques Monsieur and Madame Thenardier brought to life with boisterous dedication by Isidro Medina and Jane Haas respectively.

The Playhouse brings Les Misérables to the stage where it rightfully belongs, making the situation of these undesirables more immediate and more empathetic. Les Misérables will always be a symbol of revolution, justice, morality, and perhaps above all, the right to human dignity. The Playhouse’s production of Les Misérables pushes these all to the foreground in a compelling way.


Les Misérables runs at The Playhouse on the Russell Hill Rogers stage October 3 through November 3, 2013 with performances at 8 p.m. on Thursdays, Fridays and Saturdays; and 3 p.m. on Sundays. For more information and to purchase tickets, visit theplayhousesa.org.