Preview of The Swallow and the Tomcat, Yale Summer Cabaret
The Yale Summer Cabaret’s Verano season continues this week with a show that’s sure to be a crowd-pleaser. Adapted by Co-Artistic Director Danilo Gambini and dramaturg Emily Sorenson from a new translation of Jorge Amado’s children’s book, The Swallow and the Tomcat, the show is aimed for families, young adults, and audiences of all ages—six and up.
The grumpy Tomcat is seen as a horror and a threat by the animals in the garden, but for some reason the sassy Swallow isn’t afraid and tries to get to know him. Their affection is the talk of the garden and makes life difficult—especially as the Swallow’s parents are convinced she should marry the Nightingale. A story of identity and of the social strictures that make some forms of love “forbidden,” The Swallow and the Tomcat asks, Can enemies learn to love one another, and can that love find acceptance? Showtimes have been adjusted to allow for young audiences, with a Sunday 2 p.m. matinee show, and on both Fridays, special 11 a.m. performances. The show runs approximately 70 minutes.
To call the book upon which the play is based a children’s book is a little misleading, Gambini said. The book, in its original Portuguese, was written solely by Jorge Amado for his infant son and was never meant to be published. Amado is best known in the U.S. as the author of the play Dona Flor and Her Two Husbands, which was made in 1976 into a film that was a huge box office success in Brazil and in the States as well. Amado’s son, with his father’s blessing, chose to publish his childhood gift, and found an illustrator, Carybe, who helped create one of the seminal works for children in Brazil. The book “screams for adaptation,” Gambini said, and there have been two approaches that he is familiar with. One is “to play it strictly for children,” much as one would in a storybook session; the other is make it more avant-garde, with a definite allegorical emphasis.
For Gambini, who dislikes the other plays made from the book, creating a new adaptation was crucial. When Sorenson told him that she was translating a Spanish version of the book into English for a translation class, he knew he’d found his second show of the Verano season. As a director, Gambini is attracted by the levels of storytelling in the play he and his collaborators are creating. “The play lets us investigate which storytelling devices are theatrical, engaging, and fun.”
There are two layers, he said, to the presentation: a chorus of six animals is telling the story of a swallow and a tomcat who fall in love, and as they tell it, they take on and act out the parts of the story, which involves a host of comical roles, quite in the manner of Disney cartoons. For Gambini, “the theatricality of the play depends upon the virtuosity of the players.” And, of course, there are songs, all of which are original to this production and have been developed by Gambini and Sorenson with recent Yale College graduate Solon Snider, the show’s composer and music director.
The main cast consists of the Cat (Reed Northrup) a loner who finds himself intrigued by the Swallow (Zoe Mann); a Parrot (Julian Sanchez) who has definite ideas about decorum; a rather laconic Cow (Dario Ladani Sanchez), a rather pretentious Toad (Anula Navlekar) and a busybody Owl (Adrienne Wells), with additional roles, such as Swallow’s parents, the Duck family, a Snake, as well as The Wind and The Sun, taken up by the ensemble as needed.
The attractions of the show, for its director, is that “it’s engaging to see actors play animals,” and that, as a family-oriented play, it will entertain children while also depicting social types and attitudes. It’s “above love and seeing how others react” to the choices we make. For Gambini, there is always the question of what he calls the “five daemons” in creating theater. The first is to have a “marvel” that children can enjoy—such as talking and singing animals; next is a “passion” that appeals to the teens in and among us, wanting theater to be intense and convincing; third is a civic or social or political element that addresses what the young adult finds compelling; for the fully adult, perhaps more detached, there must be intellectual satisfactions, such as artistic virtuosity; finally, for mature audiences, a feeling that the show “lives in the now,” providing something that hasn’t already been overdone. The challenge of a show that accents the first and second “daemon” is how well it can still satisfy the other three.
Gambini’s first show of the Verano season adapted Anne Carson’s recent translation of Euripides’ Bakkhai, a show which foregrounded, perhaps, the fourth daemon while fully engaging with the second and third. It also featured Dionysus, an androgynous god who considers himself a daemon—a daemon that oversees the creation of theater since ancient Greek times. While the emphasis, mood and nature of The Swallow and the Tomcat will be very different from the season’s first show, the need to please the theater-god remains. And that means, for Gambini, addressing, even in a children’s story, important themes such as “living with the consequences of how we live and what we do.”
What kind of consequences? Gambini ended the interview by citing a line from the play, spoken by The Wind: “Every morning’s a chance for a little revolution.”
The Swallow and the Tomcat
By Jorge Amado
Translated and Adapted by Danilo Gambini and Emily Sorenson
Directed by Danilo Gambini
Yale Summer Cabaret—Verano
July 18-27, 2019
For more information about the cast and creatives, and for tickets and dining menu and reservations, go here.