Tag: David Fehr
Buy a ticket, take the ride.
|Ka-Tet Theatre presents|
|Sun, Stand Thou Still|
|by Steven Gridley
directed by David Fehr
at Stage Left Theatre, 3408 N. Sheffield (map)
through June 5th | tickets: $10-$20 | more info
reviewed by Robin Sneed
Cosmic road trip! Everyone climb into the beat up truck of the human condition for the drive everyone dreams of, but are too afraid to take. The drive wherein souls are lost and found, fate and choice crash – where you can go back and do it again, throwing yourself against the idea that you cannot change outcomes. Or that fate will have its way no matter what, so throw the dice, and make your own way. Buy the ticket, take the ride.
Sun, Stand Thou Still, written by Steven Gridley, is a dreamlike adventure across timeless roads to places we’ve been. We visit the destinations made of real life nightmares, and those we consider to be the most joyous of human experiences.
Love and death.
But, what if the sun stood still and we were caught in that singular place; one where love and life are synonymous with death? When the sun began moving again, would we make a different choice.? Take it all back? Do it all again because the moments of good we received were worth the pain we endured? On this road trip, with seven characters in search of internal freedom, the highway is rough and uncertain, sweet, and driven by struggle.
In Sun, Stand Thou Still, these most essential of human events happen simultaneously in a time-order only the cosmos know. This is not linear time, nor time measured by a clock, but time as we know it flows through the spheres, and cannot fully comprehend.
Ka-Tet Theatre’s production is full of energetic and committed performances that drive into this work and remain true to it. The play includes five characters: Officer Peters, The Driver, The Hitchhiker, The Apple Woman, and The Man. The use of kuroko, traditional to Kabuki Theatre as stage hands who move silently on the stage during the performance to manage set and prop changes, are always wonderful to see. Kevin Lambert and Kyle Youngblut perform these roles to perfection. A good kuroko brings a prayerful quality to a production and these two do just that.
Jeremy Clark, as the Driver, elicits a fierce performance that stands as lead, even within such a close ensemble. This is an actor who is very at home in his skin. Zany, with compromised eyesight, The Driver pulls out every stop on what would be deemed appropriate on the ground, but on this ride, pushes every envelope right into true love and death and back again. Part Zen master and part madman, this character cries out to be fully realized in word and deed. Clark throws this role off the cuff with a magical deftness. He does not strive, but owns his performance. It has been awhile since I have seen an actor so in character that nothing breaks his focus.
Emily Waecker designed the costumes for the play, and they are very important to this piece. From The Apple Woman to The Driver, The Man, and The Hitchhiker, the costumes convey the accident of time placement that has occurred. Is The Apple Woman a misplaced renaissance maiden, traveling this lone road in space and time? The Man, a crazed cowboy riding through from another period in search of his bride? The Hitchhiker, lost in the stars in the 1950’s, coming to earth now in this time and place? Meanwhile, the Driver is synonymous with everyman, you and me, dressed for the right now. The costume choices are gorgeous in their simplicity and daring. They stand on their own, making statements about context and providing grounding.
Scenic designer Isabella Ng sets this scene, creating automobiles from suitcases, giving the beautifully strong visual command that we are all travelers, carrying what we have, even into collisions of will and destiny. The set theme carries the idea that one cannot escape their experiences, but bring them along for the ride, even into the place where one moment, one action, changes everything. Again, we are treated to an element from Kabuki Theatre, Hiki Dogu; set pieces designed to move the actors on and off the stage. This use of an 18th-century set conception gives the piece an added mystery and fluidity.
David Fehr directed the production with a very loose hand. It’s difficult, when working with an ensemble that is so well connected, to know when to push and when to stand back. Unfortunately Fehr too often chose the latter, even in those places when his reign was needed to bring the piece into a swifter pace. There is depth and wisdom here that hasn’t entirely grown yet, but would flourish with the right director expanding creative boundaries and letting the ensemble thrive while keeping the fine art of control amongst an enormously talented cast. With a little stronger hand from a staid director, Sun, Stand Thou Still would surely swirl and fly around us gloriously.
The script is, for the most part, exemplary, but given the deep concept of time it presents, more should have been brought from the writer himself. There is something that isn’t being said, but held onto, unexplored. I offer this in the spirit of passion for theatre and excellent work, which this is. In the linguistic sense, this piece left me longing for a greater depth of description of the emotional time and space we were a part of.
Overall, the Ka-Tet Theatre Company, comprising the ensemble of Brian Hurst, Jeremy Clark, Dan Meisner, Kathryn Bartholomew, Mark Pracht, Kevin Lambert, and Kyle Youngblut, work incredibly well together, bringing a reverence to this piece that’s a joy to watch. Sun, Stand Thou Still strips away place and time and brings our most haunting, frightening, and magnificent human truths tumbling on top of one another. This piece has so much to offer in terms of bold new theater by Ka-Tet, a relatively new theatre ensemble, that it would be well worth your time to venture out to Lakeview to give the show a look-see.