Small Mouth Sounds comes to Long Wharf

Preview of Small Mouth Sounds, Long Wharf Theatre

Opening this week at the Long Wharf Theatre is the first stop of the six-city touring production of Bess Wohl’s Small Mouth Sounds, which debuted in New York at Ars Nova, 2015, and then ran Off-Broadway at the Pershing Signature Center, where it was a New York Critics’ Pick of 2016. Though intrigued by the show, I didn’t get to either of those productions. So this is a welcome opener for the Long Wharf’s 2017-18 season. The play is directed by Rachel Chavkin, who has directed the show from the beginning, but features an all-new cast. Chavkin was nominated for a Tony and won an Obie for her direction of Natasha, Pierre, and the Great Comet of 1812.

In the cast at Long Wharf is Brenna Palughi who I remember from her last year at the Yale School of Drama. In the 2009-10 season, she was featured in a show at the Yale Cabaret that was completely wordless and mostly in slow motion. Palughi’s silent scream in response to a catastrophic event has stayed with me for over seven years. It’s fitting, since the show that brings Palughi back to New Haven requires a lot of silent acting. Small Mouth Sounds concerns seven people—including a couple—who undertake a silent retreat in the woods.

Brenna Palughi, Connor Barrett, Cherene Snow, Edward Chin-Lyn, Ben Buckley, Socorro Santiago (photo: Ben Arons)

Since her time at the School of Drama, Palughi has had a Broadway debut, as an understudy in A Time to Kill, and has acted Off-Broadway and on TV. She loves doing new plays and sees Small Mouth Sounds as “walking that thin line between comedy and tragedy.” The characters, she said, “really have needs and are willing to grasp at anything” in their effort to change their lives. Alicia, Palughi’s character, “is really sick of herself and how she’s living.”

“The more you invest in the characters’ lives, the more you get from the play,” Palughi said. The playwright’s presence at rehearsals gave the cast “a lot to work with,” as Wohl “dropped great tidbits” for the actors to consider, “opening whole new trains of thought.” Alicia, who Palughi characterized as “not great at being quiet,” is a part that requires, she found, a particular kind of empathy. A key realization for Palughi, in getting into character, is that Alicia “starts where a lot of people end up.” Which means that the back story of Alicia has to be understood by the actor and conveyed with almost no exposition. Alicia “begins in a shitty place” and the play’s situation offers her, perhaps, the means to a better place.

Palughi, who has taught movement classes, said that the play, in its lack of dialogue, involves the kind of physical theater she loves. “The body becomes a tool for storytelling, but in a realistic, naturalistic way. There’s no metaphorical movement, but there is a lot of humor and meaning in the body language of the characters.”

We all might benefit from more silence in our highly articulate world. Wohl’s play lets us see how complicated confronting one another and ourselves can be without words to help or to get in the way. At the retreat, where they are addressed by an unseen teacher, the characters are “supposed to exist with but not interact with each other,” Palughi said, which might be easier said—or not said—than done.

Small Mouth Sounds opens August 30 and runs to September 24.

For my review at the New Haven Independent, go here.

http://www.newhavenindependent.org/index.php/archives/entry/in_small_mouth_soun/

For a podcast on the play featuring myself and Lucy Gellman and Brian Slattery, go here.

https://www.artspaper.org/audio/2017/9/15/introducing-our-podcast?rq=podcast

Long Wharf Theatre

And One to Grow On

Everyone knows that fairy tales are often cautionary stories, told to amuse children and to warn them, in make-believe fashion, about the pitfalls of life. Granted, it’s life with an uncanny edge to it and I suspect that more than one child has grown-up rather disappointed that real life isn’t like that. Meg Miroshnik’s The Fairytale Lives of Russian Girls takes us to a world that is like that—but it’s not just any world, it’s specifically 2005 in the former Soviet Socialists Republic of Russia, and that means that while her heroine Annie is trying to go about her business of re-russifying her Russian (it’s “rust” now, she says), she is met both with the folkloric elements of fairy tale—such as the well-known “wicked witch” figure called Baba Yaga who eats little children, cooking them in her big warm oven (of course), and who also suffers the curse of aging a year every time she is asked a question—and the realities of the “fairy tale” of a capitalist Russia. The combination of the two means that this is a weird world, where bears and tsars, to say nothing of whores and high fashion, are just part of the landscape, where the great desiderata is an apartment of one’s own “in the center” and where Prince Charming, for any Cinderella up from the ashes, is apt to be one of Russia’s newly constituted millionaires.

One of the strengths of this magical and compelling show is that we don’t quite know where it’s going. “Happily ever after” is generally the ending of fairy tales, but there’s a lot to get through to get there. And, in the end, you might disappear like you were never here.

What the play is best at—the mix of the contemporary and the fantastic—the staging at the Rep, in Christopher Ash’s bold and imaginative set design and Chad Raines’ varied sound design, brings to the fore, with doors that rise up from the floor, with a basket of potatoes that gets ambulatory, with a bone-crunching sound every time Baba Yaga (Felicity Jones) cringes at a question, with the ability to suggest a Russian disco, a shack in the woods, an entrance way between two apartments with shape-shifting alacrity, and, especially, with the storied and creepy clutter of Baba Yaga’s lair.

That’s where Annie (Emily Walton) stays because the lair is “really” the apartment of Annie’s Aunt Yaroslava, and Annie was sent there by her mother Olga (Jessica Jelliffe, in heavily-accented Russian-American speak) who ran off from Russia in the 1990s to escape antisemitism. Now, Olga sends her daughter back and, by the rules of fairy tale, that must mean there’s a score to settle. Kindly old Aunt Yaroslava, who hates questions, just loves fattening up her wide-eyed American niece . . .

If you’ve ever read fairy tales to children, then you probably know how much fun it is to play the wicked witch or godmother, and here Felicity Jones (always a pleasure) has the choice role of Baba Yaga/Yaroslava. She’s crafty, creepy, full of the unctiousness of the guardian who is looking after her charge with, all the while, that sense of her own agenda that is so obvious and yet so unreal. Jones is actually sympathetic if only because Annie is so trustingly clueless, in the best tradition of Little Red Riding Hood or Goldilocks. Either that dyevushka better get some sense (or grow some balls) or she deserves her place in auntie’s entrails.

As Annie, Walton does the “gosh and gee willikers” Shirley Temple bit fine but she never quite modulates into a knowing grasp of things, despite a make-over scene that shows off the resources of KJ Kim’s costumes. The what’s-what is left to her posse of grrrls; in director Rachel Chavkin’s hands, they’re like a mash-up of the Spice Girls and Pussy Riot, the punk styling of the latter provided (were there were more!) via composer Chad Raines, with the girls as a band off to the side, Greek chorus style.

Best at making Miroshnik’s tight lines zing is Stéphanie Hayes; she scores as Nastya, the voice of knowing negativity and a whore who, while not having exactly a heart-of-gold, is pressed into service by Annie as a “fairy godmother.” A high point is her telling of one of the Zavyetniye Skazki, or “forbidden folktales” in which a domestic (and patriarchal) “just-so” story becomes, in her hands, a story worthy of the feminist revisionism we should expect. And it’s great to see her pound those drums.

As Katya, Celeste Arias handles the Spice Girls part of the equation. She’s your basic gold-digger, c. 2005, with a cigarette-inflected voice and impossibly long bare legs atop impossibly high shoes, looking like she’s waiting to teeter into a bed owned by whoever has the most bread. It’s her fixation on “the Other Katya,” her sugar daddy’s daughter (Hayes again, with an expression like sweet dessert), that might be her undoing.

Then there’s Masha (Sofiya Akilova) as somewhere in between: she’s basically your put-upon girl-with-a-guy, and she still just wants to have fun, and maybe go to school. She tends to get the unenviable exposition role, but her tale of “Masha and the Bear” opens the show with a convincing sense of how a fairy tale can modulate into just another hard luck story you’re going to hear. And she totally rocks those red thigh-highs.

So, a self-centered Aunt who only appears to be looking out for you; or a friend who is married to a bear of a guy who abuses her and might even kill her; or another friend who is actually having an affair with the father of a girl she has befriended; or a parent who gives her child a task that will either lead to a sense of self-reliance, or make her a victim forever. These are situations that could happen anywhere, and their upshot is that there’s a time, everywhere, when “girls” have to become “adults.”

Miroshnik keeps the juggling between reality and fairy tale nimble and surprising, and Chavkin’s production lets both realms exist in the audience’s imagination, though at times it needs to be a bit more breathless. In the quick change world of The Fairytale Lives of Russian Girls, we find that the old stories do indeed work in our contemporary world, and that girls will triumph—over their female elders and males (no real member of either group was actually harmed in the telling of this play)—if only they stick together and face facts, no matter how bizarre or hard to believe, and are willing to study things like cybernetics and mathematics.

As Annie reflects, Dorothy-like, late in the play: “Sometimes adults have to do things that are really effing hard!”

The Fairytale Lives of Russian Girls By Meg Miroshnik Directed by Rachel Chavkin

Scenic Designer: Christopher Ash; Costume Designer: KJ Kim; Lighting Designer: Bradley King; Composer, Music Director, Sound Designer: Chad Raines; Vocal and Dialect Coach: Jane Guyer Fujita; Fight Director: Rick Sordelet; Production Dramaturg: Amy Boratko; Casting Director: Tara Rubin; Stage Manager: Hannah Sullivan; Photographs by Joan Marcus, courtesy of Yale Repertory Theatre

Yale Repertory Theatre January 31-February 22, 2014

Just Girls

The new play opening tomorrow night at the Yale Repertory Theatre, The Fairytale Lives of Russian Girls, was written by Meg Miroshnik who graduated from Yale School of Drama in 2011. The production is not a world premiere because Miroshnik’s first stop after leaving Yale was Atlanta where, as a recipient of the Alliance/Kendeda Graduate Playwriting Award, she was a resident for a year, during which time The Fairytale Lives of Russian Girls was staged at the Alliance Theatre in 2012. Miroshnik had actually written the play before her final project at YSD, The Tall Girls, which was featured in the Carlotta Festival here in 2011, and that play will receive a professional staging at the Alliance this March, as part of the 10th anniversary celebration of the Kendeda Award. Both plays Miroshnik describes as “coming of age” stories, and both have in common—with “girls” in their titles—a focus on young women. Tall Girls, about a high school girls basketball team, has a single male role and Russian Girls has an all-female cast.

The story concerns a Russian girl, Annie, who returns to Moscow—from LA—in 2005, to brush-up on her language skills. She finds a Russia transformed by the trappings of capitalism (this is before the global economic downturn) where young women dominate. Miroshnik says that, at the time, life expectancy for Russian males was age 57, so that her perception (Russian Girls derives from time Miroshnik spent in Moscow in that period) was of a city overrun by “hyper-feminine women, considering themselves as commodities in the booming consumer culture.”

Against this boom backdrop, Russian Girls looks at the way fairytales contribute to female identity, exploring “character archetypes” as well as “comedy stereotypes.” Situations such as encountering a girl-eating witch or having a boyfriend who is a bear are part of the matters on hand. Miroshnik’s intention is to begin with an opening that is “80% real, 20% fairytale” then switching it so that fairytale dominates reality about 80%-20%. This transformation involves highly theatrical elements that clearly are out of this world as well as absurdist details from newspapers that audiences may be surprised to learn are actually true. In other words, Russian Girls suggests that reality is never quite as obvious as we like to think it is.

But what of the reality of the Russians depicted? An interesting development that took place between the play’s initial workshop reading in Paula Vogel’s playwriting class at YSD and its first staging at Alliance was the opportunity to see the play given a studio presentation—in Moscow, in Russian! In 2010, Miroshnik went back to Moscow and the show was translated and, she says, greatly altered for use by a Russian company. Seeing the show in Russian, Miroshnik began doing “edits for speed” and was able to test her vision of Russian girls against real Russian audiences.

And will this staging be different than the one at Alliance? Quite a bit, Miroshnik says: director Rachel Chavkin, two-time OBIE-Award-winner who directed the premiere of Natasha, Pierre, and the Great Comet of 1812, has “a radically different vision of the play,” and, for starters, the Russian girls are now members of a punk band. Enter Chad Raines, YSD grad, rock-band mainstay (for his own band The Simple Pleasures and, for much of 2012-13, as guitar and synthesizer on world tour with Amanda Palmer) and Critics Circle Award-winning sound design man, to concoct songs for the group and to do that voodoo that he do so well. The Rep’s Russian Girls is bound to rock.

Whether in workshop, at Alliance, in Russian, or in rock, Miroshnik’s play seems to be showing both endurance and a certain useful malleability. While the Rep staging will no doubt be a technical marvel in many ways, the play itself seems adaptable to many kinds of spaces. Miroshnik mentions that her mentor, Paula Vogel, would point at the “third production” of a play as the point at which the playwright relinquishes it and lets it have fully a life of its own. Miroshink laughs pleasantly when I suggest that perhaps in the not-to-distant future her play will be staged by YSD students—the Yale Cab’s new season ends with a play by celebrated YSD playwriting grad Tarell Alvin McCraney. Writing plays strong in roles for women, as Miroshnik does, seems not a bad strategy for revivals.

And what’s next? Miroshnik wouldn’t give too many details about her current projects, except to say that she has been at work on a play that’s more of a character study and less an ensemble piece as both the Girls plays are, and to say that each of her plays requires “a different engine”—such as basketball or fairytales—to drive the action. Like Vogel, Miroshnik is a firm believer in “stretching or exercising a different muscle with each new play.”

In any case, it’s not too much of a stretch to expect that The Fairytale Lives of Russian Girls will be a fascinating and entertaining debut of Meg Miroshnik’s work at the Yale Rep.

The Fairytale Lives of Russian Girls By Meg Miroshnik Directed by Rachel Chavkin

Yale Repertory Theatre January 31-February 22, 2014

Theater News

This week the Long Wharf’s world premiere of Heidi Schreck’s The Consultant opens officially on Wednesday, January 15. See our preview here. This week as well the Yale Cabaret resumes its 46th season with Have I None, a daunting play by British playwright Edward Bond from 2000. Set in 2077, the play darkly imagines a dystopia in which memory, and therefore history, has been erased. Jessica Holt, 2nd-year YSD director and Artistic Director for the Yale Summer Cabaret, 2014, will stage the claustrophobic play with stress on Bond's sense of the absurd. January 16-18.

Next week, on January 23, from 5:30 to 8:30, celebrated local theater troupe A Broken Umbrella Theatre will host a fundraiser at the Eli Whitney Museum and unveil details about their latest venture. As usual, the project is an original play based on historical figures, facts, and locales of New Haven. If You Build It, the new play, focuses on inventor A. C. Gilbert to celebrate the 100th anniversary of his most famous creation: the Erector Set. Director Ruben Ortiz, playwright Charlie Alexander, and cast members will present an excerpt of the work in progress.

The build up of the production will be complemented by an evening of treats and toys: Small Kitchen Big Taste will be serving “architectural food,” including slider and mashed potato stations to build-your-own-cupcakes, Thimble Island Brewery will feature locally crafted beers, and ABU's Chrissy Gardner and the Moody Food Trio will provide musical accompaniment. Guests are invited to try their hand at the engineering feat of Erector Set construction along with ABU’s crew of welders, carpenters and electricians.

A Broken Umbrella Theatre has presented site specific works in New Haven for the last five years and enjoyed perhaps their greatest triumph at last year’s Arts and Ideas Festival with Freewheelers. Come out, sneak a peak at their next production, become a patron, and have fun.

For more information, please visit www.abrokenumbrella.org, or contact Rachel Alderman at: 203.823.7988 or rachel@abrokenumbrella.org

Next week as well will see the 10th show of the season at the Yale Cabaret: 3rd-year YSD actress Elia Monte-Brown’s original play, The Defendant, about the rigors of public school in New York (where Monte-Brown taught); the play aims to recreate some of the anxieties of today’s student, and to question the values of public education in America, using all 1st year actors in the YSD program. January 23-25.

And on the last week of the month, January 31st, previews begin for the Yale Repertory Theatre’s next production: The Fairytale Lives of Russian Girls, a world premiere from Whiting-Award winning playwright, and recent YSD graduate, Meg Miroshnik. Miroshnik's play, directed by two-time OBIE-Award-winning director Rachel Chavkin, who previously directed an Off-Broadway production of the celebrated musical Natasha, Pierre, and the Great Comet of 1812, is set in 2005 as a twenty-year-old girl named Annie returns to her native Russia. Underneath the glamor of a Post-Soviet Moscow bedecked with high ticket consumer goods, Annie discovers a land of enchantment straight out of a fairytale, with evil stepmothers, wicked witches, and ravenous bears.

The Fairytale Lives of Russian Girls opens officially on February 7, and runs til February 22.