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Montpellier, France
Writer, actor, artist, teacher, exploring the world and its levels in fiction, poetry, memoir, photography, fine arts.

Sunday, June 18, 2017

"Downstairs" at ACT Theater - a chilling battle for love, memory, and truth

Theresa Rebeck's “Downstairs,” a co-production of ACTLAb and Theatre 22 directed by Julie Beckman, dives bravely into emotion and experience, finding both redemption and damnation. As the play opens, Teddy, played by Brandon Ryan as a vulnerable, manic anti-hero, putters in a basement room in the home of his sister Irene (Christine Marie Brown) and brother-in-law Gerry (John Q. Smith.) Irene's attempts to engage with Teddy trigger unfolding layers of fear and denial as brother and sister probe, parry, and persist in uncovering each other’s secrets, sharing their truths, gradually regaining tarnished but authentic trust in one another.

Literally above their heads prowls something very dark – a demon, as Teddy puts it: Irene’s husband Gerry, whose poisonous inner core is soon revealed. As the two siblings circle one another in a dance of alternating denial and revelation, Gerry’s weighty, toxic presence threatens their cautious rapprochement.

The script by Theresa Rebeck was submitted in 2016 to ACT Construction Zone’s new play development project, and ultimately chosen for a full production. Like the scene break intermezzos that bounce around a keyboard in weirdly unhinged arpeggios, the dialogue and characters seem desultory at times. Yet sudden revelations emerge from smokescreens of accusation, evasion and manipulation. Truths are uttered, clarity springs forth. The script's threads of metaphor and plot interweave and form patterns of meaning: who owns the house? Who decides what is true? Where’s the money? Who has value? What remains of the past? What is remembered and what forgot? What matters?
 
Christine Marie Brown and Brandon Ryan; photo: MR Toomey Photography
The cast is uniformly riveting. Christine Marie Brown seems a meek soul, cowed by her hateful husband (one is tempted to leap to the stage and hit the man), but under Teddy’s questioning and Gerry's menacing she reveals layers of strength, pride, regret, and determination. Sharp acting choices capture the anguish of a person trapped in an emotionally and physically abusive relationship: the downcast eyes, submissive stance, wary feints for a trace of personal power. Her conflicted love for her troubled brother and fear of her hate-filled husband ring painfully true.

The same can be said for Brandon Ryan, whose talent for creating characters of intricate and uncanny precision seems boundless. Teddy is a slovenly mess, perhaps verging on psychosis, hiding secrets about his life and spinning long tales of persecution. Yet his underlying lucidity bursts out: if anyone has a grip on the real, it seems, it’s the madman so close to the edge of sanity that he alone can call out truth. It’s an old trope told here in very new clothes. 

In a gripping stand-off with Gerry, Teddy finally utters the words that strike fear into Gerry’s malevolent soul: “You’ve been seen.” It's an effective antidote to the poison that Gerry spreads: “You don’t exist.” Once this blow is struck, the revolution begins.
Christine Marie Brown and John Q. Smith; Photo: MR Toomey Photography

Moments in the second act veer toward melodrama but are restrained by Julie Beckman’s skilled direction and a terrifyingly contained performance by John Q. Smith. The monster he portrays is not beyond what anyone in the audience may have experienced or imagined: an utterly self-centered autocrat with the power to intimidate those around him and shape reality to fit his own narrative. His performance, too, is spellbinding, and despite the extremity of his evil, one recognizes its truth and knows the type. 

The talented cast handles challenging language with virtuosity. Words spill out, racing and overlapping; silences leap out like shadow monsters; words wound, deceive, overpower, and console. Innocuous phrases take on stunning power: "He's fine!" -- "You've been seen" -- "You're not real." To some degree, it's a play about words: their surfaces and their subtexts; their power to define or obscure reality, create or thwart community; to kill or to care. 

"Downstairs" is a play for our time, when facing down demons and holding onto simple truths may be our only path toward imperfect but necessary salvation. It's an experience not to be lightly undergone or easily forgotten.



ACTLab & Theatre22 present

"Downstairs" 
by Theresa Rebeck

Directed by Julie Beckman

The Bullitt Cabaret at ACT Theater

June 14 - July 9, 2017
















Saturday, March 25, 2017

"T2 - Trainspotting" boggles the mind


Danny Boyle’s new film "T2 Trainspotting" is a flamboyant hoot. Just check out this trailer! (There are more on the film's FB page.)


“Shoo-er yu cunt unnerstanna wurrud th’r sane mowust uh th’tame…” – but it doesn’t matter that much. Boyle delights in tropes of his 1996 cult film, and in the complicated relationships among the surviving troupe of low-lifes fans will remember from the original. The success of exuberant, flashy, utterly watchable “T2” is in part that Boyle doesn’t seek to imitate, but to surpass. He does so, creating a gripping, funny, violent, vulgar, trashily intellectual piece of post-modern filmmaking.

“First there was an opportunity, then there was a betrayal.” That’s the theme in a nutshell. Mark Renton (Ewan McGregor) returns to his hometown after a 20-year absence and at once confronts long-postponed consequences of his past. One by one, we are re-introduced to Mark, Spud (Ewen Bremner), Sick Boy (Jonny Lee Martin) and Begbie (Robert Carlyle), as their stories intersect. Sparks fly – and blood, and other fluids, but I don’t want to spoil the astonishing fun of it all.

The film is visually arresting: fast, loud, kaleidoscopic, and often incomprehensible despite the floating subtitles that appear at the start, an ironic nod to the complaints of non-Scottish audiences about “the language barrier” in T1. I had a brief hope the titles would run throughout, but no; once they disappear you’re on your own to make sense of the story by riveting your attention to the action and vivid settings.

Kid videos and snips from the original film create an almost poignant sense of the passage of time. All of the characters in their unique ways deal with being suddenly middle-aged, and the world they live in has definitely moved forward as well. Some time sequences get confusing. For instance, at the end of a knock-down bar-fight between Mark and Sick Man, Mark walks away from the pool table without a scratch on him, as Sick Man sits on a bench at the side of the room. The floor is spotless, not a trace of upturned furniture or shattered glass. Is this a jump ahead (or back) in time? Or is it Boyle poking fun at the trope of the barroom brawl? Probably the latter, but one grins a little uncertainly.

Another question: has celebrity ruined Ewan McGregor? I hate to ask, because I love Ewan McGregor – who doesn’t? But of the four characters (a fifth, Tommy McKenzie, played by Kevin Kidd, dies in the first movie but makes an appearance in a flashback), McGregor stands out, and not in a good way. His screen presence is self-conscious and faintly unconvincing, as if he barely had his lines memorized. I noticed this quality in him in his recent appearance on Stephen Colbert: like a man talking to himself in the mirror.  I wonder what’s going on.


Anyway, if you are a T1 fan, don’t miss T2. Or even if you never saw the original, you'll find everything you need in this “sequel.” Take it as a cartoon, a send-up of itself, a mockumentary about a generation of Edinburgh’s heroin underground facing mid-life crisis. It’s funny, memorable, and cathartic – a must see for your inner demons.




Sunday, January 22, 2017

"Shot" by Spectrum Dance Theater

You might go to a Spectrum Dance Theater performance for many reasons: you never go see dance, and you think it’s about time; you heard Spectrum is controversial, and you’re feeling feisty these days; you got the ticket from a friend who came down with the flu; you read that Spectrum’s current show, “Shot,” is about Black Lives Matter, and you want to do something political and be a good citizen. 

Or, maybe you're a season subscriber welcoming another adventure. Any of these might be your reason to see this show during its brief run at Seattle Rep.

Let me give you one more: this is a moving, fascinating, flawed, memorable piece of political dance theater, coinciding with the inauguration of an administration that is going to require a lot from brave artists willing to put their work out there and have an influence.
Ensemble members
Paul Giarratano and Fausto Rivera Contreras; Photo by Nate Watters


In “Shot,” Byrd starts with facts: killings of unarmed black men and women by police happen with tragic frequency in America. You’ve heard about it, talked about it, perhaps argued about it. As with so much in our public discourse, the narrative is often reduced to simple extremes: Black Lives Matter vs. Blue Lives Matter.

"Shot" highlights these polarities, and is able to transcend them by crafting an idiom of the body, focusing on human beings caught up in the machinery of institutional racism and oppression.

Byrd places his discourse of movement on the steps and street in front of a massive, multi-level, whitewashed screen, embedded in which stands an arched doorway and rising steps flanked by two glass-globed light-posts: a hall of justice, or perhaps the impassive façade of a precinct police station. Fourteen young dancers enter as lights flicker and flash; sounds of police action rise; a mosaic of images flutter like torn pages of a newspaper across the screen, images reduced to memes of all-to-familiar desperation, violence, and fear. 

Out of this cacophony, motifs and patterns emerge: life in motion, life in the body -- solo, pairs, triads, ensembles. Violence is there; fear; love and loss; family; rupture; oppression. And death. Again and again, in the midst of this life and struggle, a figure falls, shockingly inert. Taut, synchronized group gestures of astonishing technical expertise sharply contrast with fluid moments of intimacy and warmth.

“Shot” features the music of two important artists: Jaimeo Brown and Julius Eastman. Their shifting, transcendent fusions of sound create another rich layer in the multi-sensory experience of “Shot.” The soundtrack is a flowing river of voices, tones, genres: blues filtered through the news, global rhythms in the local pulse of life and death.

Byrd makes a radical, unsettling choice midway through the piece, as he reads from the stage an informational page or two about "the talk" that many black parents now have with their adolescent children about surviving an encounter with police, listing the "ten things to remember." This interrupts the idiom of the performance with an abrupt foray into unadorned language, followed by more words as actors representing opposing sides debate, escalate, and finally resort to slurs and insults to shout each other down. 

It's an interesting choice, a risky one, and detracts more than it contributes to the piece as a whole. The work is a tribute to lives lost, loved ones left behind, displaying the human-driven machinery of death powered by institutional, embedded racism. The return to the last third of the performance after this rupture is a relief, but the broken thread of the experience is never quite made whole again. If this is Byrd's intent, it backfires.



The human lives depicted and remembered on this street are composed of many threads: work, family, hope, loss, heavy burdens made bearable by the lightness of love and community. "Shot" succeeds best by weaving voice, music and movement into a coherent visual and visceral experience. The falling bodies, and the anguished cries of "Don't shoot him! Don't you shoot him!"from the video recording made by Rakeyia Scott as her husband was gunned down in September, 2016, are enough to drive home the brokenness of American justice and the tragedy of police violence against people of color.

This is work that honors and eulogizes victims of systemic injustice; that sets its sights on transformation and healing, not polarization. It is a work of love and anger that should be widely seen. 



"Shot" 
Spectrum Dance Theater
Executive Artistic Director Donald Byrd

At Seattle Repertory Leo K. Theater

January 19 - February 4, 2017

Tuesday, March 29, 2016

Three memories (essay)



Flying

When I was a little boy, maybe five or six, in Salem, Oregon, there was a swing-set across the street where I and my friend Jerry used to play. The seats were canvas straps, wide enough to sit in comfortably and delight in the wild excitement of flying up toward the treetops, up among the branches like a bird; then plummeting back toward the ground; then rising, face to the sky, and hovering for that magic moment of weightlessness somewhere up in the clouds.

We also played “Superman” by lying with our stomachs down across the straps, arms outstretched, legs dangling, reaching out toward the oncoming earth and sky, trying to hold onto the air and leap over tall buildings with a single bound.

At some point I acquired a distinct memory impression, and belief, that I had once, while playing there alone, flown without the help of the swing. Following a similar up and down oscillation, I flew up, arms outstretched, and back, and up again, and again, with the certain knowledge that I had no swing under me, but did this simply on the air, by magic.

At the age of living dreams
The memory itself of this remains fairly clear; more muddled is the memory of how I retained this memory and the belief that it had actually happened, for so long. Surely in the following few years I must have learned that such things do not happen; I became more familiar with dreams and able to distinguish between waking and dreaming memories. Yet somehow this one lived on, I don’t know how. But it did.

I recall that much later, when we lived in Cummington, Massachusetts, there came a moment in time when I confronted this memory with certainty that it could not have happened: I must have been deluding myself all these years! I was upstairs in my bedroom in the far back of the house, perhaps in the dark, thinking... half-dreaming, when it hit me: that can't have been true!
Still seeing magic everywhere


In other ways I was leaving the world of childhood behind and coming to terms with a world in which not all magic was possible. I believe this long-held belief that I had accomplished the magic of flying in my earlier years must have had an effect on my psyche, rendering me open from my earliest years to belief in magic and the supernatural; this receptivity matured with me into first religious convictions of various kinds, along with a strong mystical streak, which has persisted even after having shed most specific affinity with religious doctrines per se. If once you have felt magic, after a certain age, you can't forget. It's just something you know.





Arachnophobia


Another association with the big house in Cummington is spiders. This where I acquired my fear – let’s come right out with it: phobia – of spiders. I had bad experiences with them – large ones in my bed on several occasions, and ensuing nightmares featuring them. I don’t recall ever being bitten by one: wasps and hornets were the culprits in that department, in bed as well as other places. But the terror of spiders grew into a real phobia that would drive me from a room. I ran screaming to my parents’ room when I was ten or so and found one, as it seemed, sprawled across my pillow. In France, as a teenager of seventeen or eighteen, I recall jumping from chair to chair to escape from my bedroom where a moderate house spider was crawling across the floor.


How I got over this phobia is worth relating. I overcame my spider phobia in the summer of 1976, at the end of my sophomore year in college. I was at Pomona College, and stayed on campus for a month, doing some work for my German professor, Karen Kossuth. I had to move out of the dorm, and asked Karen if I could convert the garden shed behind her house into a temporary abode. She was skeptical, but said I was welcome to try. It was overhung with ivy and clematis, stuffed with dusty old tools, boards, plywood sheets, everything else you might expect, all dusty and cobwebby.

The place was was infested with earwigs, which I found easy enough to remove with a broom, after having removed or repositioned a great deal of clutter. Under the eaves outside, and up among the roof rafters, I discovered a high number of small, evil-looking black spiders, with a tell-tale red mark on their underside: black widows, not only biters, but poisonous. I was determined to conquer them. I systematically swept all the webs and nests away from the outside, and then tracked down and killed every one I could find inside and out. I was Hercules, cleaning the Augean stables; I had the power of the gods and of my own conviction deep inside me. Nothing would stop me.

College age - maybe around 1975

By the end of a long and dirty day the place was clean, swept, arranged, livable. Even the small-paned windows had been cleaned for the first time ever. I laid out my sleeping bag and pillow on my bed, a self-built contraption of beams and plywood. I proudly showed off my work to Karen, and joined her for dinner in the house. Later, after dark, I returned for the night, lit a candle, and turned back my sleeping bag, checking to make sure no errant or defiant spider might have crawled in there for revenge.


To my dismay, that’s exactly what I found: a Black Widow, glaring at me. I chased it, but it was too quick and scurried over the side of the bed and underneath. I knew I had to destroy this spider, or never sleep a wink that night. With my candle, I knelt and peered under the bed frame; she hung on the underside of the mattress, brandishing her legs. I swear I could see the candlelight glinting in her angry, vengeful eyes. I took a swat, but she evaded me; I chased her into a corner, then out again and back under the bed. Determined, I brought the candle down and moved it toward the creature. She seemed to take a final stand, as if sensing the battle was over and self-immolation was the honorable way out. With a swift movement I brought the candle flame under it and saw it frizzle and drop to the floor.

The battle was over. I never saw another spider during the month I lived there, and while I have never wanted to share a close space with a spider since then, neither have I ever run from one again, and have spent, indeed, many minutes studying their web-making and insect-devouring with interest and sympathy. Somehow, a peace was made between us in that garden shed. I slew my fear with the light of human reason, determination, and ruthlessness.





Birches


I loved to climb trees as a youth. The earliest memories of focused, intentional climbing are from about age ten, in Cummington, again – a town of 600 souls in the Berkshires of western Massachusetts, where my father was the minister from 1963 to 1967. Down near the river were meadows, then a drop-off down a grassy bank to a lower floodplain, well overgrown with young trees. My friends and I would follow paths through these woods, along the river and down to the Green Bridge at the far eastern end of the village. In those woods were some great climbing trees, and saplings, or at least young enough trees of a certain variety that we could climb them, shinnying up the thin trunks, until our weight would cause the tree to bend and lower us to the ground. We could hold onto the trunk and be lifted up, bouncing skyward as if on a natural spring offered from the earth as our plaything.
A New England boy


Later, I sought refuge in trees as an alienated, unhappy teenager, and discovered many secrets among the boughs. Birds would come and sit all around me sometimes; they seemed less afraid of me in the tree than on the ground. Also, people walking below would almost never notice me. It was a rule I was elated to discover: it was human nature not to pay much attention to what went on up in trees. I loved to watch and listen to people walking past on park walkways, in the Boston Public Garden, for example.


When I was at boarding school in Connecticut, happier after my year and a half of purgatory in a public junior high school in Needham, Massachusetts, one day I was not in class; I don’t now know why, but I was apparently skipping. Up on a bluff behind the main school building was a birch forest, and on this particular spring or fall day, I found my way there and tried swinging on birches: it worked perfectly, just as the other trees had done so well back in Cummington, four or five years earlier. I climbed up the slender white birch trunks, pulling myself gently upwards by the delicate branches, careful not to damage anything; once at a certain height, I would institute a gentle swaying motion, and at some point the weight displacement was such that I would be carried down to the ground, hanging suspended from the branch, weightless; then, landing, would feel like a moon-walker, bouncing up with a kick from one leg, descending back to earth, then kicking up with the other. It was great fun; all the more so because through the tree trunks I could see the long rows of windows of the school building, with students at their desks, teachers at the blackboards.
Teen spirits (with Alec Stevens)


Later in the morning, at lunch, Mr. Grover, the Junior English teacher and Dean of Students, came up to me and said: “Whatever possessed you to skip class and go swinging on birches?”


“I don’t know. It just felt like that kind of day,” may have been my response. I cared little for rules when they didn’t suit me in those days.


“Well, it made my lesson today with the fifth formers. We’re reading Robert Frost’s “Birches," about a boy birch swinging. And right outside our classroom window was a boy swinging on birches. I forgive you the skipped class. Now go read the poem.”


I’ve never forgotten that. And it is a lovely poem, which invariably takes me back to a fall day in Danbury, Connecticut, when I was “a swinger of birches.”



See below:



Birches, by Robert Frost

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay
As ice-storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust—
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
I should prefer to have some boy bend them
As he went out and in to fetch the cows—
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having lashed across it open.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

Thursday, February 4, 2016

OMG (Poem)




To say goodbye to it all
is so hard
to it all, all
the things you thought were forever
or at least
so much longer than they turn out to be
so long until
it’s not,
not long at all,
it’s just hard to let it all go
piece by piece:
the dear hearts who died ahead
no solace, really, as
you cry again
over a photo of a friend
gone long before you,
as hard it was then
as now with new ones lost,
saying goodbye to mother
to fathersisterbrother
and all your stuff,
OMG all that stuff,
to the ideas of yourself
you pinned to the walls
inside your skull
like flow charts
-- snapshots
of what you would do --

all those things you would do

saying goodbye to all you will ever be
and all you will never be
it’s hard
it’s just plain hard
so get started okay?