Cry If You Want To: Little Green Pig’s Knock-out CELEBRATION at Shadowbox

Photo: Alex Maness.

Thaddaeus Edwards as Gbatokai, in LGP’s CELEBRATION. Photo: Alex Maness.

When the lights came up in the Shadowbox, and the cast took its bow at the close of Celebration on February 7, the actors were met with enthusiastic applause. But after they filed off stage, no one moved for several minutes. The Little Green Pig Theatrical Concern had nailed us to our seats with this excoriating production. Adapted for English-speaking theatre by David Eldridge from the 1998 Festen, an early Danish Dogme film directed by Thomas Vinterberg, Celebration is directed here by Kevin Ewert. With a combination of boldness and reserve he makes us doubt what we already know about the plot—gives us the denial already infecting the family—seducing us with the party set-up, then wallops us with the truth. It’s a tough show, but an extraordinary work of theatre.

There are worse things a father can do to his children than rape them repeatedly, but not many. In this story, the father doubled the damage by inflicting himself on his young twins, a boy and a girl. Now he’s turning 60, and the family has gathered to celebrate. All but one—the damaged girl twin, long since grown, has recently killed herself. The boy twin returns to Denmark, to the hotel his parents own and where the children grew up, with a pair of speeches in his pocket. As the eldest son, it will fall to him to make the first toast to his father.

Overlaid scenes in LGP's CELEBRATION. Photo: Alex Maness.

Overlaid scenes in LGP’s CELEBRATION. Photo: Alex Maness.

Jaybird O’Berski leads the outstanding cast of 15. As Christian, the abused son who has lost his twin, O’Berski’s trademark intensity is put to full use, and he exhibits a masterful control, especially in contrast to his brother Michael’s (Jeffrey Detwiler) invisibly crafted wild crudity. Tamara Kissane, who is often paired with Detwiler to great effect, is a knock-out here as Mette, Michael’s energetic wife, who gives as good as she gets in the marital wars. Mette wears blood-red lipstick, an unsettling note amid the carefully designed black, white and beige world of set and costumes (Kevin Ewert and Caitlin Wells), forebodingly lit by R.S. Buck.

Dana Marks gives another powerful performance as the remaining living sister, Helene. Like Kissane, she is fearless on stage, and continues to surprise with her range. She’s brought her new boyfriend (Thaddaeus Edwards) to the party, and his presence offers an excuse for a truly shocking outburst of racist song. Edwards has little to do, but he registers polite astonishment very well, and his what-the-fuck-is-wrong-with-these-people look is priceless.

I had some quarrel with the directorial choice that made the personification of the father, Helge, very low-key. As played by Dan Oliver, Helge is almost completely without affect, and no match for son Christian in intensity. I would have preferred to see a glimpse of the brimstone lake below the placid exterior. Once only do we see his cruelty uncloaked, but his threats are weak. His fortress is his bland denial. It was a valid choice to play the character this way, but not, I think, the most powerful one possible.

Denial works much better for Helge’s wife Else, the mother of his children, because finally hers is splintered. Lenore Field gives a brilliant, riveting performance. In the final scene where she is isolated, though not banished, I could not take my eyes off of her motionless portrait of a woman whose forty years of married life has just turned to ash.

In addition to a powerful script, wonderful stagecraft and great acting by the leads and all the supporting cast, this show has something really special: the presence of a child. 5th grader Marleigh Purgar-McDonald has a natural approach and poise many an older actor might envy. Her interactions with her mother (Kissane) and her grandmother (Field) could not have been better. But it is the physical fact of her, a little girl, innocent and loving, that brings the horror of Helge’s past abuse of his own children into the clearest light. I don’t know how Purgar-McDonald is able to process the content of this play, but that she does suggests there may be a great actor in the making inside her. I intend to watch her grow at every opportunity.

This play is not an entertainment, and its content may be too hurtful for some. But it is one of the best works that The Little Green Pig Theatrical Concern has produced, and highly recommended. The show runs Feb. 13-15 and 20-22. For reservations go to https://dime.io/events/celebration, or call 919.452.2304.

Photo: Alex Maness.

Marleigh Purgar-McDonald’s Little Girl keep a wary eye on Jay O’Berski’s Christian, while Dana Marks’ Helene reads the damning letter from the dead. Photo: Alex Maness.

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Artists turn on the power at Manbites for THE NEW ELECTRIC BALLROOM

It is always a special treat to see theater work made by talented, skilled artists who have generated their synergy not in just this production, but in many plays over years, even decades. In the current show at Manbites Dog Theater, director Jeff Storer leads a dream cast of well-known and much-admired area actors in Irish playwright Enda Walsh’s The New Electric Ballroom (2005). It’s an ideal play for Storer: It requires a tight ensemble of actors; it is built more on storytelling than action; it explores dark reaches of the heart, and is not in a hurry about it. It has a moral, but doesn’t beat you up with it—both writer and director seem content that it catch up with you later, maybe one day when you are about to shut the door on love.

Katja Hill, Marcia Edmundson, and Derrick Ivey in The New Electric Ballroom at MDT. Photo: Alan Dehmer.

Katja Hill, Marcia Edmundson, and Derrick Ivey in The New Electric Ballroom at MDT. Photo: Alan Dehmer.

Marcia Edmundson, Lenore Field, and Katja Hill, as three sisters endlessly replaying their old memory-tapes and trying to keep safe from love, are more than capable of working in Walsh’s terrain of amazing language that mixes naturalism and symbology. Derrick Ivey, as the fishmonger Patsy, makes his poetic lines tumble naturally from the shy man’s mouth, and easily carries the responsibility of offering warmth and life to the sisters’ cold house. Storer, in his usual deft manner, balances the bleak with the tender, and coaxes his actors into to opening the characters’ sad, barren hearts to reveal their self-made comic tragedies and blighted longings. In 85 minutes, they lay out the proofs that risk + courage may or may not = love, but love – (risk + courage) is a null set.

You may think at first that you will not connect with these characters—Ada, Breda, Clara, and Patsy—because they don’t connect well with each other, but you do. As Breda and Clara begin to repeat their interlocking stories of their fateful night years ago at The New Electric Ballroom, they seem repellent, purposefully self-destructive. Soon you perceive that they are mired, stuck in a deep scratch in life’s record, and you begin to care for them, though it is a big relief when sweet Patsy shows up with his day’s load of fish and gossip, to relieve the miasma of feminine bitterness.

Derrick Ivey and Lenore Field at Manbites Dog. Photo: Alan Dehmer.

Derrick Ivey and Lenore Field. Photo: Alan Dehmer.

Although the play is ultimately very sad, it is studded with comic moments. Katja Hill as Ada doesn’t get any of the flashier ones—hers is a very quiet and nuanced performance, depending a great deal on body language. But Edmundson as Breda and Field as Clara get to exercise their considerable talents for drollery throughout. Derrick Ivey is, as usual, entirely believable no matter what he is doing. He also had the audience hooting with laughter at several points, not least during the bathing scene. The multi-talented Mr. Ivey also designed the sets and costumes, which, also as usual, make the most out of very little. (How does he do it? He is also directing the forthcoming Durham Savoyards production of Pirates of Penzance, opening March 14 at the Carolina Theatre.)

The New Electric Ballroom runs through March 9. It’s a fine script, and a wonderful opportunity to see several of the Triangle’s best at play. Tickets through www.manbitesdogtheater.org. You may also want to pick up tickets for the next show there, Little Green Pig’s Derklöwnschpankeneffekt: Two Plays for Klöwn, directed by the Hon. Michael O’Foghludha (who was dramaturg and dialect coach for Ballroom) and starring our favorite bad boys, Jay O’Berski, Jeffrey Detwiler and Carl Martin, who also have that long-time synergy thing going on. It opens March 21.

Clara (Lenore Field) and the teacake, in The New Electric Ballroom at MDT. Photo: Alan Dehmer.

Clara (Lenore Field) and the teacake, in The New Electric Ballroom. Photo: Alan Dehmer.

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