Tag: Shawn Douglass
A Wilde night of wit
|Remy Bumppo Theatre presents|
|The Importance of Being Earnest|
|Written by Oscar Wilde
Directed by Shawn Douglass
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through Jan 9 | tickets: $40-$50 | more info
Reviewed by Barry Eitel
I have to admit, when I entered the Greenhouse for Monday’s opening night performance of Remy Bumppo’s The Importance of Being Earnest, I wasn’t quite in the mood for Oscar Wilde’s famous wit. I was coming off a redeye bus ride from a whirlwind Thanksgiving vacation, and on top of that, I could sense the first annoying tinglings of a cold. I don’t think I’m in the position to deem that the production, directed by Shawn Douglass, has any healing powers. However, after a few hours of chuckle-inducing satire, I would be lying if I said I didn’t leave the theatre feeling a tad bubbly. The powers of Wilde somehow managed to persist even with Monday’s torrential downpour.
A case could be made that The Importance of Being Earnest is some sort of sardonic allegory; Wilde continues to subvert the Victorian norms he so often took aim at. The 1895 farce expounds on love, especially the role of lying in relationships. In the age of Facebook profiles and Match.com, white lies are par for the course. Apparently fibbing was just as common a hundred years ago.
The play revolves around two friends, Jack (Paul Hurley) and the hedonistic Algernon (Greg Matthew Anderson). Both invent brothers so that they can live freely as another persona without the fear of repercussion on their very real reputation. Unfortunately, Cupid strikes and trouble starts brewing. In the city, Jack names himself Earnest (ha) and falls for the charms of Gwendolen Fairfax (Linda Gillum), who claims she could never love someone that wasn’t named Earnest. Jack decides he should re-christen himself and leaves for his country home (where they think Jack’s imaginary brother is a libertine), but Algernon, always looking for some excitement, throws a wrench in his plan. He visits Jack’s country homestead also claiming to be Earnest, where he falls for his friend’s ward, Cecily (Kelsey Brennan). Obviously, there can be only one Earnest and time is running out as everyone converges on the estate. Of course, Wilde ties everything up by revealing ridiculous family secrets and logical roller coasters.
Anderson steals the show here, painting his Algernon with plenty of lounging, raised eyebrows, and a keen sense of Wilde’s timing. Another notable performance is David Darlow’s turn as the aphorism-rich Lady Bracknell, Gwendolen’s mother. The crossdressing, thankfully, does not come off as a gimmick; rather, I could easily believe Darlow was simply the best choice for the part. Hurley, Brennan, and Gillum also do decent jobs, albeit with a lack of fire.
Overall, that’s Douglass’ biggest failing with this production. The stakes aren’t high enough, and Wilde’s delicious wit feels stodgy at times. When the writer’s infamous one-liners pop up in the script, too often the actors here glibly allow them to fall flat. Instead of an engaging scene, we watch the actors being clever. This throws the momentum off and it takes a long time for the cast to rediscover their balance. The first act, with the exception of Darlow, has a hard time finding the proper pacing. After that, though, the text and the actors are more in sync. Another unfortunate result of the cast’s woodenness is that a lot of the laughs are stifled into giggles. Don’t get me wrong, the humor here is delightful, it’s just not hilarious.
Nevertheless, Remy Bumppo still has a winner on its hands, and the cast oozes with charm. Wilde’s sharp satirical voice could be made more alive, but it definitely shines throughout. I would wager it’s impossible to leave in a bad mood, even when a late-fall deluge awaits you outside.
- Download the Being Earnest Study Guide (excellent!)
- Don’t miss Between The Lines on December 11th
- Consider attending the special New Year’s Eve performance on Friday, Dec. 31 at 7:30pm. Tickets are $75 and include post-show champagne and dessert with the cast!
The Real Story Vanishing in the Dead of Night
|Remy Bumppo Theatre Company presents|
|Night and Day|
|Written by Tom Stoppard
Directed by James Bohnen
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through October 31 | tickets: $35-$40 | more info
Reviewed by Paige Listerud
What to make of Remy Bumppo’s latest production Night and Day? On one hand, the whole production is a sexy, easy fit. James Bohnen’s spot-on cast slips casually and effortlessly into Tom Stoppard’s dialogue–just like an old-school lounge lizard would slip into a dry martini or a pair of silk pajamas. On the other hand, what with the United Nations releasing its recent report on atrocities in the Democratic Republic of Congo, Stoppard’s cunning 1978 play still looks like a bunch of white people sittin’ ‘round, talkin’ while a country made up of darker-skinned people burns all around them. Set in the fictional African nation of Kambawe, the home of copper-king ex-pat Geoffrey Carson (David Darlow at our showing) is hardly the Court of Versailles. Nevertheless, on the brink of civil war, who has time to talk about fickle fame, sex, Scotch or the role of the media? These characters do.
Into this jaded milieu, Stoppard interjects the question: Does a free press matter? Define what you mean by a free press, etc. It’s this et cetera that Bohnen’s actors handle so well. Dick Wagner (Shawn Douglass), an Australian-born reporter for the Globe, solidly provides most of the sly, tough cynicism through his omnipresent worry over getting scooped. His colleague and comrade, photojournalist George Guthrie (Jeff Cummings), brings battle weariness and much-needed urgency and passion to a very talky show. Greg Matthew Anderson, playing freelance journalist Jacob Milne, achieves likeability and freshness with a character who sees no problem with blurring the line between serious and tabloid news. If Night and Day reveals anything, it’s Stoppard’s gift for prophecy.
These few, these happy few, descend on Carson’s home, much to the chagrin of his wife, Ruth (Linda Gillum), because he possesses an untapped, unsevered line and a Telex machine to get the news out to the West. They are the true seekers of the story, since the rest of Western press is still hanging out in the lobby of the local Sheraton. Carson also has connections with the rebel leader, Colonel Shimbu, whose scheduled late-night meeting with the dictatorial President Mageeba (Ernest Perry, Jr.) leads to devastating consequences.
Politics aside, Stoppard situates blithe and cynical Ruth at the center of his satire, being the only character whose unspoken thoughts are transparent to the audience and being the one whose name–meaning mercy, sympathy and compassion–contrasts starkly with the ruthlessness all around her. Cherchez la femme, right? And what a femme she is. Gillum doesn’t hit a wrong note, negotiating dialogue directly to the audience and exchanges with her fellow actors like a master magician. Hers may be a performance that redefines the word glib. She excoriates the tabloid press for their paparazzi stalking of her divorce and marriage to Carson in one scene, only to fall for the young, idealistic defender of the tabloid press in another. I’m still pondering how she makes it look so easy, believable, and above all, sympathetic.
For the most part, Night and Day flows as smoothly single malt Scotch from a never-ending stream. Bohnen successfully builds tension with Guthrie’s suspicion of Carson, Milne and Guthrie’s departure to meet Colonel Shimbu, and the anticipated, nerve-racking visit from President Mageeba.
Perry’s entrance as Mageeba, certainly does not disappoint. He’s every bit as gracious, intelligent and threatening as a Western-educated, media-conscious despot should be. Regrettably, Mageeba’s ad hoc interview with Wagner drags and the play’s bit of stage violence comes off as unconvincing. It seems strange that Remy Bumppo should stumble here at such a critical moment. My hopeful assumption is that this was an off performance in an otherwise impeccable production.
Does Stoppard ever resolve the question of the necessity of a free press? Tough to say—on the one hand, you don’t want the Mageeba’s of the world in charge of what’s fit to print; on the other, the media is a capitalist enterprise that trivializes critical news and foregrounds trivia, until all information turns into fodder before its gaping maw. Guthrie’s defense of a free press remains the most poetic in the play:
People do awful things to each other. But it’s worse in places where everybody is kept in the dark. Information is light. Information, in itself, about anything, is light.
That is a plea appropriate to 1978, long before the 24-hour news cycle and the digital age. Now we are awash in information, both qualified and unqualified, and we can hardly now call all information light.
We few, we lucky few citizens of open, industrialized nations have, for a long time, used the media as much as a distraction from daily cares as for timely and relevant news. That’s a very human tendency. All the same, I found myself wanting to turn away from the diverting chatter of Stoppard’s principal characters. I grew weary of the same jaded arguments from people still living in a bubble of white and colonial privilege. I longed for Stoppard’s most silent character of the play, Francis (Michael Pogue), the Carson’s servant, to report his truth and have his perspective brought front and center.
Important Event on October 11th:
October 11: "Is the Truth Front Page News?" Journalist Panel
A free journalist panel hosted by WBEZ’s Richard Steele
Performance excerpts from Night and Day, highlighting the risks and responsibilities of foreign correspondents, will springboard a charged panel conversation, hosted by WBEZ’s Richard Steele, on where readers now turn to get the truth.