Diva worthy Master Class

True greatness, the uncontested and monumental kind, is hard to come by. The Classic Theatre takes on Terrence McNally’s Master Class, now playing through October 4, and the unparalleled life of opera diva Maria Callas.

Anna Gangai as Maria Callas in The Classic Theatre's Master Class.
Photo by Siggi Ragnar.

McNally’s Callas is not only a raw version of the woman, but also a vessel by which to remind audiences the depth of emotion and sacrifice that envelops such iconic artists. It is their dedication and courage making a lasting impression of their careers, not just the performances and accomplishments. As Callas repeats over and over throughout the script, they give everything — yet, especially in today’s over-saturated limelight, truly great performers are too often taken for granted and left to compete with flash rather than substance.

The Classic Theatre production of Master Class exhibits exceptional talent rarely seen on San Antonio stages. Anna Gangai, once again, proves her own diva stature in her portrayal of the incomparable Maria Callas. Opening with a softer demeanor than expected, Gangai manages to endear audiences to an otherwise polarizing and intimidating legend. Every one of the vocalists in the cast were phenomenal singers with soaring voices much larger than the Classic’s space. Of course, the nature of the script brings the acting ability of singers under scrutiny and audience members can judge for themselves if they felt the expectation Callas lays out in the play is met. Amanda Golden as Sophie DePalma took Callas’ direction to heart, giving a much improved performance to culminate her time on stage. Jerry Cordova’s Tony Candolino seemed ingenuine, but made up for it with his moving vocality. Jacquelyn Matava provided a powerhouse voice to Sharon Graham, yet did not seem to reap as noticeable benefits of Callas’ criticism as the others. Regardless of the characters’ individual arcs, the singers each have amazing vocal talent and range, only accentuated by Josh Pepper’s accompaniment musical direction. Not to be forgotten, Pam Slocum was an appropriately dry stagehand, giving a short glimpse into the stark difference between the diva and the crew.

Diane Malone directed an unrivaled production with Master Class. Tim Francis’ lighting and Rick Malone's video designs were simple yet poignant, matching the bare stage set and allowing the performers and the music to take center stage. Rick Malone’s sound design blended perfectly with the live music, giving Gangai the ability to transport herself across time and space seamlessly.

What Master Class accomplishes above all, even more than depicting the life of Maria Callas, is reiterating the standard that must be met in order to rise to the level of greatness. Being memorable is not the same as being revered and fame doesn’t equal legend. Perhaps McNally is asking actors and audiences alike to demand a higher level of artistry and not settle for a nice voice, but reserve ovations for the most deserving. Master Class resurrects the ghosts of talents lost too soon and begs for a rededication to experiencing the magnified truth in art instead of investing in manufactured reality. After all, in order to elevate art, it is  necessary to be uncompromising, strive for perfection and often succumb to the exhausting addiction it feeds, just as Callas did and taught.

The Classic Theatre’s Master Class delivers the same high caliber performances it commands with an obscene amount of local talent. Master Class should not only leave audiences with an appreciation for opera and the career of Callas, but also a desire to experience excellence in art, especially local theatre. Let this production set the tone for this theatre season.


Master Class will run at the Classic Theatre through October 4, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit classictheatre.org.

The Rose wants to talk about RACE

by Jenni Morin

David Mamet’s RACE is more pertinent, and perhaps polarizing, today than when it premiered six year ago, before Trayvon Martin and Michael Brown. The Rose Theatre Company’s production, now running through August 29, dares to tackle this difficult topic plaguing the American media and public conscience.

The play opens with two lawyers, one black and one white, Henry Brown and Jack Lawson, cataloging the many trials that brought about conspiracy within the justice system, racial and otherwise, to convince their prospective client, Charles Strickland, that he cannot win his case. Accused of raping his young black mistress, Strickland, a wealthy and successful white man, insists it was consensual and they were in love. As the afternoon unfolds, further evidence comes to light debunking the laywers’ defense strategy as Strickland insists on going to the press to tell his side of the story. Brown, along with their assistant Susan Davis, a young black woman, believe Strickland to be guilty from the start as Lawson jumps at the challenge to make the case not about race, or even sex, but the alleged victim’s red sequin dress.

Mamet’s dialogue is meant to be spewed at such a pace that the arguments can only culminate in reflective and seething silence. The build up during these exchanges felt lacking with an unsteady pace in The Rose’s production. Providing the most developed performance, Joseph Urick as Jack Lawson led the cast with snarky and arrogant rhetorical comments laden with politically incorrect descriptions. The rest of the cast often felt flat in their deliveries and disconnected from the action of the play. It wasn’t until the end, after much exposition by Torence White as Henry Brown, that Megan Van Dyke’s Susan Davis felt three-dimensional. David Blazer lacked a certain privileged pomposity indicative of the stereotypical Charles Strickland. While Chris Manley’s lighting worked for the space, it didn’t quite illustrate the short passage of time between scenes, making hours seem more like days. The sound effects were often mistimed, providing awkward moments, especially noticeable in a Mamet script where timing is crucial. The set, although appropriately painted in contrasting black and white, was sloppily constructed with bunched tape at the seams of the back wall and extraneous paint on the window, no at all reminiscent of a high-priced lawyer’s office. Director Morgan Clyde found the key lines to punch, along with some comedic moments to highlight, but the blocking often felt cluttered and stagnant for the stage configuration. Some of the extraneous exchanges in Mamet’s script can be blamed for the mid-play tangential trudgery, however it is up to the production to find the motivation and pacing to support the dialogue so it can have the intended impact.

RACE is as much about the systematic proliferation of racial tensions and injustices of the justice system as it is about race relations and perceptions. Mamet unearths simple, yet often disregarded, certitudes about the impracticality of color-blindness: as long as any one person is afforded certain advantages or exceptions based on race, it will influence the way businesses and people must behave and therefore make it impossible to treat everyone the same regardless of skin color. Little undeniable truths are sprinkled throughout RACE, as Lawson explains there is nothing a white man can say about race to a black person. Brown also acknowledges those of his own race who exploit it to get ahead, while Davis does just that.

With prejudices and perceptions so ingrained, the contradictory nature of affirmative action, and the struggle to reject racial identity yet celebrate cultural roots weighing down the debate, Mamet almost seems to sum up the denial of racism as succinctly as he does his play: guilty.

Regardless of the production quality, RACE at The Rose is worth the ticket to challenge conventional stances on race. If The Rose production’s whole purpose is to spur, or even halt, the timeworn discussion with new insights on the race debate, it’s a success.


RACE runs at The Rose Theatre through August 29 with performances at 8 p.m. on Fridays and Saturdays. For more information and to reserve tickets, visit therosetheatreco.com.

Removing the muzzle: Q&A with Trigger Warning playwright David Legore

Jenni Morin talks with playwright David Legore about what prompted him to tackle academic freedom, campus carry and perceptions of PTSD in Trigger Warning.

For more information of the Theatre For Change production of Trigger Warning, visit theatreforchange.org/trigger-warning.

What first prompted you to write about trigger warnings?

To be honest, the origins of the play had nothing to do with trigger warnings, as I’ve come to understand them.  In fact, I had not even heard of the term or application until I had already begun writing.  My primary focus was on matters of free speech and academic freedom in higher education, and the various populations who are affected by and involved in these matters.  Early drafts of the play were entitled “Muzzle,” a title that I still find fitting for the piece.  In doing research, however, I happened upon cases involving trigger warnings, and the content seemed appropriate, timely, and relevant for integration in this play.  Ultimately, I’m interested in the dynamics of learning, and the exchange/dialogue between teachers and students as we seek enlightenment and truth.  Furthermore, I’m responding to trends and cases from across the country that demonstrate how complicated these matters have become in the modern corporate academy.  

With the origins of trigger warnings in feminist blogging and violence against women, what was your motivation to turn the attention to combat veterans and PTSD?

As I’ve mentioned, the story was not originally informed by an awareness of trigger warnings or their applications in policy.  There was a confluence of events and inspirations that ultimately led to the creation and integration of the characters, subjects, and themes of the play.  I didn’t sit down to write a play about trigger warnings, combat veterans, PTSD, or any of the other myriad elements that one might extrapolate from the piece.  I wrote about characters and situations within a given setting—a setting that I happen to care deeply about.  I think creativity is often less linear and planned than we would like to think.  When the muse is working, she hits the artist with a variety of seemingly unconnected inputs.  The output is hopefully greater than the sum of the parts.  That said, I do find myself drawn to stories that explore our deplorable human tendency to be brutal towards each other.  Certainly, those victims of some traumatic or violent event—whatever the cause—are susceptible to post-traumatic stress.  I am sympathetic to these victims and the repercussions of their trauma, but these layers in the play are a peripheral and organic result of the writing process—and not a central matter that fueled my motivation.  

In many ways, the modern world has led to a collective sharing of these stresses—and, necessarily, that has an impact on higher education.  The debate, of course, is how best to balance the care and concern for the individual with the need to challenge and prod the collective.  How can we best solve the world’s complex problems in a society that is so clearly polarized?  How can we cultivate meaningful dialogue and action among select citizens who demand insulating protection from anything that might offend their beliefs or sensibilities?  I think that storytelling is a tool that allows all of us to process these complexities in a communal way.

How long have you been working on the script and how many drafts have you written? Were the changes from each draft significant or minor?

I began writing in late May of 2014, and had a complete first draft in about three weeks.  Subsequent drafts have involved what I would call minor but meaningful changes—a gender change and the addition of a minor character, for example.  In a first draft, I’m quite deliberate before making a choice.  Thus, by the time I’ve completed that draft I’m pretty comfortable with the whole.  After allowing some time to pass, I find it helpful to return to the script on a regular basis with a fresh eye.   In all, I have written around ten drafts, with targeted goals for each revision.  For example, I might read and revise based strictly on the goal of “trimming the fat.”  Another read and revision might look for differentiation between character voices.  Ultimately, however, a writer can learn much from the early readings of the play.  Certainly, I will also learn a great deal from this premier production—which will undoubtedly lead to further revision.

The main character in the story has a huge change in his attitude toward the "triggered" student in the play. Does this in any way reflect your own views towards trigger warning policies?

Not necessarily.  I am certainly more aware of the history and intentions of trigger warning policy.  I would like to hope that I’m sensitive to the diverse and complex realities of the modern student population.  I would never attempt to intentionally and knowingly traumatize a student.  That said, as the character of Martinson asserts, I too am a flawed human being.  I have undoubtedly said or done things that were triggering to a student.  I am in a field that explores the “dramatic conflict” of the human condition—with stories that are often capable of triggering.  I also don’t claim to be an expert on these matters.  I’m a storyteller who is fascinated by them, and concerned about any trends or policies that would diminish or threaten our ability to explore truth (no matter the dangers), to dialogue with each other, and to take action for positive change.

What does it mean to you to have your play produced by your university, especially on such a touchy subject in academia? 

It’s humbling, and I’m grateful.  As an alumnus and professor of 17 years, TLU has played a central role in my development as a human being and artist.  It has helped form and “reform” my desire to seek reconciliation for our broken world.  I think that is reflected in the play.  I think the willingness to support the production at TLU is also consistent with the Lutheran tradition of higher education, a bold tradition that has historically sustained the quest for truth—even if the truth involves some pain and conflict.  I receive inspiration and take comfort knowing that Luther himself provided a model of reformation for us—grounded in the example of Christ.

What is your prediction about the widespread adoption of trigger warning polices?

I hesitate to guess, however I think the chances of any general implementation are slim, if recent cases and the resulting reactions are any indication.  There are a lot of complicated layers.  I think the movement to implement policy comes from a place of good intentions.  I support efforts to help students have a positive and supportive educational experience.  The devil is in the details, however.  There is significant resistance to anything that would muzzle free speech and academic freedom.  This resistance is grounded in long-standing ideals about the goals of a liberal (liberating) education.  As Plato wrote in “The Allegory of the Cave,” there is significant pain for the prisoner during their journey towards enlightenment.

There’s also no guarantee that a policy would actually prevent a student from triggering—given the multitude of sensory stimuli that can lead to an episode (words, smells, colors, the weather, etc.)  A professor can control the dynamics of a classroom experience to some extent, but some of the most transformational moments for learning take place in unpredictable and uncontrollable ways—during times when the professor themselves may not know the answers.  As the character of Dr. Martinson says, “Asking the question, "Why?" is one of the most dangerous things you can ever do.  Especially if people are threatened by the answer.”

Have you had any personal experiences with triggers and students in your time in teaching?

Not that I would have understood or labeled as such at the time.  However, it has probably happened in my classroom or within the performing contexts that I supervise—whether to a student I work with, or an audience member that has attended.  Through colleagues, I’m aware of incidents that have occurred in their classrooms.  I’ve been fortunate to work in an environment that allows me to develop meaningful relationships with many of the students I encounter.  This proves helpful in establishing trust during our mutual quest for understanding.

Talk about some of the inspiration behind the set and media design for the show.

The scenography of the show is intentionally simple but suggestive of that place where a learning exchange occurs.  For a college campus, that includes locations both within and beyond the classroom—but with the aesthetic and impact of the classroom looming everywhere.  For generations, that exchange has involved words, images, and concepts, shared through mediums like the blackboard.  Modern technology has complemented these traditional mediums.  However, much like the shadows on Plato’s cave wall, the imagery of the design is intended to suggest a limited representation of truth.  Ultimately, in order for enlightenment to occur, a dialogue must provide dimension, nuance, and color to the black and white imagery.  An enlightened view of reality will necessarily involve elements that can cause (and trigger) pain.  A reading of “The Allegory of the Cave” also reveals that the goal of education and enlightenment is not a selfish end that one hoards for themself, but rather one that must be shared with others—including those other prisoners left in the cave.  As Plato describes, our return to the cave will also be met with pain, as we encounter the doubting and scornful voices of the unenlightened.      

How do you think the medium of theatre can impact the dialogue about a subject? What do you hope audiences take away from this production?


As I’ve suggested elsewhere, I believe strongly that storytelling can provide a powerful forum for communion, reflection, dialogue, and action.  A story allows the audience to participate in a fabricated (but hopefully faithful) representation of truth that should ideally provoke them to think.  Thus, I hope the audience will engage with this play—much in the same way that I hope college students engage with their studies—in a willing spirit of openness.  I would also urge viewers to support the institutions and constituents of higher education as they grapple with the complex challenges of seeking truth in the modern world.

Dance, interpretation, mysticism and the Mahabharata

by Jenni Morin

When a new original work comes onto the scene, it is surrounded by curiosity, excitement and obvious creativity. From the Mahabharata: The Great Dance-Off, AtticRep’s latest production to grace the Carlos Alvarez Studio Theater stage at the Tobin Center, embodies all the anticipatory energy encompassing its premiere, along with a welcome mysticism.

AtticRep's From the Mahabharata: The Great Dance-Off.
Photo by Amitava Sarkar.

Billed as part of the San Antonio International Festival of Performance, the impetus behind From the Mahabharata hails back to last summer’s Forum Theatre Project, a collaboration of experimental theatre tackling the subject of skin tone between AtticRep and Chennai, India-based Crea-Shakthi Theatre. In an effort to continue infusing international views and aesthetics into the AtticRep season and bring cultural appreciation to local audiences, Producing Artistic Director Roberto Prestigiacomo created and directed From the Mahabharata with the help of choreographers Kausi Subramaniam and Seme Jatib, local dancers, and composer Reena Esmail who devised the original score recorded by San Antonio’s SOLI Chamber Ensemble. Carrying on the theme of Indian culture, the dance-theatre production is inspired by and mimics the story of the ancient epic poem, the Mahabharata. Presented as a dance company debating whether contemporary or traditional style of dance is the appropriate means for illustrating the great Indian saga, From the Mahabharata employs the theme of war, which predominates the Sanskrit text, to bring the action to the climax of the dance-off between the rivaling dance styles.

Since the premise of the production is that the dance company is in rehearsal, the dancers are not quite synchronized or as crisp as a polished recital. This rawness reiterates the experience of attending a premiere, especially as the audience is invited to feel as though they are part of the process in creating this work. While the acting leaves something to be desired, the few scenes of prose readings are both entertaining and insightful. One storyteller chronicles the confusing genealogy of princes as another exchanges offers insight into Dharma, karma, serenity and the path to enlightenment. These scenes speak to the complexity, tradition and constant need for self-evolution in not only Indian culture, but all of humanity.

A string box contains the dance floor as a balanced display of both Indian and contemporary styles set the scene and crescendo into the dance-off in perfect rhythm with Reena Esmail’s original score. Seme Jatib’s modern choreography seems ethereal as the long lines of the dancer’s bodies play against a somewhat smokey bare stage. Just as the staccato movements of Kausi Subramaniam’s traditional dances begin to feel repetitive, a change in tempo and mood revitalizes the action. Violinist Ananda Nadayogi enhances the experience with live accompaniament while Scenic Designer Jeremiah Teutsch brings puppets to life. Along with an evocative lighting design by Gaila Raymer, an undulating liquid seemed manipulated by the dancers as they moved in front of the projection, their shadows cast against the colored forms. The production design coupled with the choreography reflects the magic and mystery synonymous with Indian culture.

Not a traditional theatre production in the least, or an expected dance performance, From the Mahabharata is more of an experience, a behind-the-scenes look at the process of creating performance art. It offers an energetic and exciting escape into an unfamiliar culture with a different take on the battle waged between old and new, contemporary and traditional. AtticRep’s From the Mahabharata: The Great Dance-Off is at times exhilarating, inspiring and thought-provoking if approached with an open mind and willingness to embrace a new cultural experience.


From the Mahabharata: The Great Dance-Off runs at the Carlos Alvarez Studio Theater at the Tobin Center through June 14 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m.  Sunday. For more information and to reserve tickets, visit atticrep.org. 

4000 Miles goes the distance

by Jenni Morin

A road trip becomes an odyssey in Amy Herzog’s award-winning 4000 Miles as it tenderly examines the reality of dealing with loss. Now showing at the Cellar Theater through June 7, The Playhouse’s rendition of 4000 Miles raises the bar for local productions.

Cris Boneta and Sam Carter Gilliam as Leo and Vera in
4000 Miles at The Playhouse. Photo by Siggi Ragnar.

Leo arrives at his grandmother’s Manhattan apartment early in the morning after biking across the country. Having experienced a huge tragedy along the way, his family and friends are increasingly worried about his well-being. His inability to deal with what has happened strains his relationship with his girlfriend Bec. Vera, although initially surprised to have a houseguest, becomes accustomed to Leo’s presence, which allows her to release her irritating neighbor from having to check up on her. Leo spends his days rock climbing and avoiding his life, and when he attempts to have a one night stand with Amanda, it ends with him alone in the dark then finally detailing the whole bike trip incident for Vera. When Vera's neighbor passes, they share a poignant moment of mutual understanding and empathy.

As Vera and Leo slowly gain momentum, it becomes clear their paths have become intertwined for this brief moment in time. Journey and distance are constant themes, but rather than the cliched undertones of spirituality or personal awareness, Herzog allows the characters to be lost. The beauty of 4000 Miles is that it gives each character a level of respect to hold their most troubling and defining milestones close rather they splaying them out to be trampled on and judged.
This sweet and witty dramatic comedy is glimpse into the lives of a very odd couple, made up of a 21-year-old modern hippie and a 91-year-old Marxist grandmother, who find solace in silence. A delicate truthful interaction, 4000 Miles is a perfect therapy session with a spunky grandmother uncensored from imparting the wisdom of her years and experience. It’s as much about growth together as it is about personal growth and finding the strength to move past tragedy and accept life for what it’s become.

In an exceptionally impressive performance, Sam Carter Gilliam leads the cast as Vera. Without overwhelming the stage, she commands it with a quiet tenacity full of judgmental looks and a signature gait. Cris Boneta as Leo portrays the angsty grandson floundering in his loneliness. Together with Gilliam, Boneta creates touching moments and well-timed humor. Lilly Canaria’s Amanda character unfortunately gives her little to work with, coming off vapid and flighty, while Kristin Richards does a commendable job as Bec and shines in her awkward encounters with Vera.

Director Bill Gundry masters the silent moments, filling them with humor and affection. All of the technical aspects fell into place to create a very real escape into the lives of Leo and Vera. A magnificently decorated and detailed set by Ryan Deroos brought Vera’s apartment to life from the crocheted doilies to the rotary phone to the cups and saucers, along with other trifles from properties master Janis Kelly. Megan Reilly’s lighting transitioned well from night to day and defied shadows for the most part, giving each trinket and detail its own spotlight. Incidental sounds and transitional interludes tempered Pat Smith’s sound design, while Crystal Wilderson’s costumes were fitting for each character, even eccentric Amanda. Aside from tightening some transitions, the show was scrupulously well executed and engaging through to the last heartwarming moment.

The Playhouse’s 4000 Miles is a simple story made better by a talented team of technicians and actors who fill the silences with humor and compassion. The Cellar Theater provides the quintessential setting for this intimate glimpse into the converging paths of two generations with differing approaches for gaining perspective in the face of loss.


4000 Miles runs at The Playhouse Cellar Theater through June 7 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. For more information and to reserve tickets, visit theplayhousesa.org.

Rumors: You know what they say about assuming

by Jenni Morin

Neil Simon's popular farce Rumors, now playing at The Sheldon Vexler Theatre through May 31, is a staple in community theatre repertoires due to its snowballing chaos and rising tensions. While examining the effect gossip has on relationships and perceptions, Rumors also brings out the inherent humor in assumptions and inane cover stories.

The play opens on the panicked Chris and Ken Gorman who have just found their friend Charlie Brock unconscious and bleeding from a gunshot wound upon arriving for a party for his tenth anniversary with his wife Myra, who is nowhere to be found. After getting ahold of Dr. Dudley to help treat Charlie, Ken realizes it's a superficial wound on his earlobe and he's in a Valium-induced sleep. Friends of the Brocks, Lenny and Claire arrive after having been in a car accident and speculate the missing hosts have to do with rumors of an affair, then Ken lets them in on the situation. As the other guests arrive, they must keep inventing excuses for the missing party hosts and absent staff. They seemingly convince the other guests, Ernie and Cookie Cusack, that everything is fine and even to cook their own dinner, until a second gunshot, rendering Ken momentarily deaf, raises further questions. Genn and Cassie Cooper arrive bickering about another rumored affair and everyone seems to get injured in some way as the first act culminates in a screaming, aching, exasperated tableau of chaotic desperation. Everyone has been filled in after dinner when the second act opens and they all decide to blame Ken. A mysterious woman calls for Glenn, making them think it's Glenn who Myra is having the affair with, causing Cassie to go ballistic. The police show up to investigate Lenny's car accident and seem satisfied with their answers until Glenn accidentally mentions the gunshots. Lenny, pretending to be Charlie, tells an impromptu story explaining the entire evening, which seems to satisfy the officers. Once they leave, Charlie offers to tell the real story of what happened.

Simon weaves a warning against gossip and assumptions into the chaos of Rumors to add a message to the otherwise mass confusion. Each of the characters has their own rumor-worthy secrets, which are revealed as accusations in many cases. Amidst the confusion and lies, Simon manages to leave evidence of not only the nature of the characters in crisis, but also of their backstories. This gives the farce a little more substance than those that seem to leave the audience constantly discovering pieces to the plot puzzle until it finally makes sense. Despite the depth of this farce, Rumors still requires a fast-paced and precise execution in order to build and maintain momentum. Simultaneously, the characters must remain frazzled while still being able to repeat the evolving volley of lies meant to explain the current predicament. The believability of the entire production rests on the ability of the actors to personify every clue given about their characters, rather than the plausibility of the situation itself.

The Vex production of Rumors has plenty of comical moments guided by director Michael Burger. Chad A. Miller's sound pairs perfectly with Ken Frasier's lights and set. Dylan Brainard even introduced a new character in his props with an extra long phone cord responsible for several humorous binds, literally. While all of Sophia Bolles' evening attire is fitting for the status of the characters, the description of Cookie's dress is not representative of the only one described in the dialogue. While the production faces inconsistencies in pacing, it isn't without its shining moments and some stand out cast members.

Scott Leibowitz leads the show as Lenny Ganz, keeping the cast on tempo and commanding the stage for his explanatory monologue. Chelsea Ortuno as Cassie Cooper and Robert Gonzalez as Glenn Cooper have great stage chemistry with one of the most engaging scenes of the show. Ben Scharff presents a steady Ernie Cusack with well-timed outbursts. Theresa Bishop's Claire Ganz is both snarky and detached while Jared Stephens as Ken Gorman brings the opposite with high-energy hysteria. Carlos Alvarado as Officer Welch holds his own as his partner officer Pudney played by Erin Polewski holds her own as the strong silent type. Cookie Cusack, played by Lisa Fritschle, seems more odd than eccentric, while Megan Van Dyke's character Chris Gorman is always on the brink of hysteria and more in need of Valium than a cigarette.

Never a dull moment, Rumors keeps audiences guessing as the characters make assumptions, spy and gossip until relieved by an official explanation. The Vex production of Rumors is a fun romp and one of the few farce plot that can be followed thanks to a few talented actors worth the ticket.


Rumors will run at The Sheldon Vexler Theatre through May 31, 2015 with performances at 7:30 p.m. on Thursdays, 8 p.m. on Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.vexler.org.

Love to hate & hate to love Chekhov

by Jenni Morin

As the most produced play this season according to American Theatre magazine, Christopher Durang's 2013 Tony winner for best play, Vanya and Sonia and Masha and Spike, is a ridiculous mélange of Chekhov's characters and themes brilliantly mashed with his unique brand of culture criticism. The Classic Theatre production, now showing through May 17, pays homage to both Durang and Chekhov in a hilarious and perfectly cast tonic.

Vanya and Sonia and Masha and Spike is set at the estate of middle aged siblings, Vanya and Sonia, who have come to accept their pointless existence, not without complaining, after spending their youth caring for their ailing aging parents. Professors and community theatre enthusiasts, their parents named all their children after Chekhov characters. Masha, their sister, is an actress who pays for the estate and comes home to disrupt their depressingly mundane lives to attend a costume party. In an attempt to desperately cling to her fame, youth and beauty, she bullies everyone, including a neighbor girl Nina,  into being the supporting cast to her Snow White costume for the party. Sonia refuses to be one of Masha's dwarfs and insists on being Maggie Smith as the evil queen, upstaging Masha's costume and boosting her confidence in possibly meeting someone at the party. Meanwhile, Cassandra the housekeeper, who has premonitions just like her Greek namesake, warns against several threats, which everyone ignores until they come true. Masha's visit has brought out the charm of Sonia as she receives an invitation for a date and the confidence of Vanya who decides to share a reading of his play, inspired by Konstantin's symbolist play in The Seagull. Spike rudely answers a text during the reading, which sets off Vanya into a tirade about how things used to be in the 50s. Masha discovers Spike is involved with her assistant and send him packing. Employing a voodoo doll, Cassandra convinces Masha not to sell the house and the three siblings end with a tableau of contentment in their house by the cherry orchard.

Durang quickly explains most of the Chekhov references throughout the play as they come up, making it just as humorous for those unfamiliar with the Russian master. Beyond the obvious similarities in character names and preoccupations, themes of selling the family estate and Konstantin's play within a play, Durang, like Chekhov, introduces a wide range of well developed characters. This makes it easy to relate to the melodramatic tantrums and empathetically and emphatically experience the ups and downs of their tumultuous relationships. Durang may in fact be tapping into some of the humor Chekhov intended, which never seems to come across through the dark clouds hanging over his subtext-laden works. However, some of the deeper Chekhovian themes are embodied by Vanya then poured out in his monologue, which feels like a reflection of personal frustrations of the playwright. From lusting after an unattainable young mate to the younger generation's materialism to environmental sustainability, Durang offers a rich script that is as meta theatrical as it is entertaining, yet exceedingly difficult to execute well.

The Classic Theatre production of Vanya and Sonia and Masha and Spike is exceptionally well executed. Under the skillful direction of Diane Malone, each technical element highlighted, without overpowering, an incredibly talented ensemble. Both lighting by Steven Starr and sound by Rick Malone were respectfully well balanced, unobtrusive and restrained, pairing nicely with Karen Arredondo's functional set. While Kitty Williams' costumes, especially Sonia's party outfit, provided their own subtext, a special mention must go to Jan O'Neill for smashable mugs and the best teapot.

From Anna Gangai's (Sonia) impeccable comedic timing to Emily Spicer's (Masha) icy facial expressions, this cast flawlessly delivered every bipolar moment. Gangai's Sonia is undeniably endearing as the audience is on the edge of their seats during the entire one-sided phone conversation with a potential suitor. John O'Neill (Vanya) and Gangai are perfect compliments, marching to the sounds of their own piccolo, as he so gently steers his adopted sister back to a sunny disposition. O'Neill's lengthy monologue about the past is animated and charged with frustrations of society's audacious improvements that have left the simplicity and communal experience of the past behind. Danielle King as Cassandra energizes the Russian melancholy with a flourish of comedy uniquely her own. Spicer gives Masha an extra touch of humanity and hilarity in her uncomfortable interactions with Nina and suggestive moments with Spike. John Stillwaggon performs an entertaining audition scene, but like McKenna Liesman (Nina) has been given little to work with from Durang.

Durang's Vanya and Sonia and Masha and Spike is the answer to updating Chekhov and bringing his works to a new audience, while simultaneously allowing Chekhov fans to laugh at the undeniably depressing works. The production of Vanya and Sonia and Masha and Spike at The Classic Theatre is rousing and entertaining, offering an accessible and approachable script for all.



Vanya and Sonia and Masha and Spike will run at the Classic Theatre through May 17, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit classictheatre.org.