It's Got That Swing

Ella Fitzgerald was known as “the First Lady of Song” for a reason.  Her way with a lyric was impeccable, her delivery making the listener discover nuances in even the most well-known standard (her versions of the Cole Porter songbook are for me the best of both worlds: Ella at her best and Porter rendered superlatively).  And her improvisational ability – her famed scatting – was likewise incomparable. One of the interesting moments in the show Ella the Musical, currently playing at the Long Wharf, is when she hits upon scat as a way to counteract the charge that her precise diction makes her sound “too white.”  Indeed, the best aspects of the show are such moments that recreated the feel of a performer’s life, trying to cope with what “the audience wants.”

In the first half of the show Ella (Tina Fabrique) is rehearsing with her band and speaks to us, the audience, as though we’re her confidantes as she, a very private person, tries to wrestle with her manager’s idea that she provide some revealing “patter” as part of her performance.  In the second half we’re treated to a ficitonalized dramatization of a show Ella played in Nice shortly after the death of her half-sister whose child Ella had raised, though with much absenteeism, as her own.

There was some dramatic tension in going from “insiders” at the backstage session to a generalized audience treated to the professional stage Ella.  What didn’t work, for me, was the dualism of the vulnerable and forthright Ella of the first half and the more vapidly entertaining Ella of the second half.  And when she had to breakdown and cry on stage it felt to me like a betrayal of the controlled and personally self-effacing Ella we got to know in the first half.  In other words, the breakdown seemed like “show biz” though ostensibly it wasn’t meant to be.

But that’s just me quibbling about the script.  And the script is incidental to what makes this a great show to go to.  It’s the music – provided by George Caldwell (piano), Rodney Harper (drums), Ron Haynes (trumpet), Cliff Kellam (bass) and the full-throated vocals, with feeling, style and, yes, swing delivered by Fabrique.  When Ella teases early on with “A-Tisket, A-Tasket” and doesn’t do it (“haven’t I done that enough”), I didn’t mind – as with most signature songs I found myself wondering why that was the tune synonymous with her name.  For me, the show-stopper was “The Man That I Love,” but then I'm a jazz ballad aficionado.  And don’t worry: Fabrique as Ella on stage does the great lady's most famous song with all the exuberance you’d expect.

And about that band: not only did they provide great support, turning the Mainstage into a hot jazz club, but they also interacted very effectively with Ella’s story, as for instance, Harper playing Ella’s first manager and band leader, Chick Webb, or Kellam as Ella’s supportive husband, or Haynes’ Satchmo imitation for a sparkling Ella / Armstrong duet in the second half.

“It don’t mean a thing if ain’t got that swing” Ella sings at the beginning of the show, and, musically, this show means all it needs to.  If the drama didn’t always swing it, it at least let us in on the trials faced by even a consummate professional like Ella, for whom hitting the right musical note was never an issue, but the right note as a public personality might be a bit more hit or miss.

Ella the Musical; book by Jeffrey Hatcher; conceived by Rob Ruggiero and Dyke Garrison; directed by Rob Ruggiero; music direction by George Caldwell; music supervision and arrangements by Danny Holgate

Long Wharf Theatre, Sept. 22-Oct. 17

for my review of Crumbs, the current Yale Cabaret show, go to: http://www.newhavenadvocate.com/culture-vulture/crumbs-and-clues

Something Fishy

Vaska Vaska, Glöm, the third show of the Yale Cabaret’s season was written by an acting student, Stéphanie Hayes, and directed by second year directing student Lileana Blain-Cruz.  Blain-Cruz directed last year’s Cab show Salome, based on the Oscar Wilde play, and I’m beginning to wonder if she has a thing about fish. In Salome, Seamus Mulcahy swallowed a live goldfish at each performance.  In Vaska, Adina Verson, as Fiska, a girl who lives in a barrel of water, chows down on a whole fish each performance, a fish seemingly raw but actually smoked.  The moment is a bit unsettling: young Fiska strains upward from her barrel, blackened teeth dismembering the meal proffered by her two guardians, Hedda (Mulcahy again, playing a woman this time) and Ulli (Sarah Sokolovic).

The two women live in some remote Scandinavian area, apparently, where they lead a simple peasant existence, washing sheets and engaging in vaguely Beckettian rituals (one involved Ulli watching a video tape of a young woman enjoying a lake, which seems to quiet Ulli’s primal angst).  Hedda clues us in on their lives by commencing a story in which a pregnant woman shows up at their door (which looks like a door on a ship or sub), demands they act as midwives and, after delivery, requests that Hedda and Ulli destroy the child as the woman goes on her way.  The two elders can’t do it, instead they name the child Fiska and put her in a barrel of water where she thrives, except for those unfortunate teeth.

The charmingly odd duo make for doting if simple-minded parents and Fiska is a rather uncanny child, so there’s a likeable and quite watchable rapport on display for this segment of the play (feeding time notwithstanding), until the guardians decide it’s time Fiska found a mate.  And who should appear at the door but Horace, “the only guy in town,” a one-legged fisherman who woos Fiska twice.  The first time he’s got to go away again before he can claim his prize, and by the second time Fiska is starting to fade and can barely remember what happened moments ago.  Nothing deterred, Horace (Fisher Neal) overcomes her misgivings and carries the day.  This segment provides the most drama because the interchanges between Horace and Fiska were appealingly forthright and because, in a tale this strange, a love story gives us familiar rooting interest.

We then return to the rituals of Hedda and Ulli we began with, only now with the difference that we understand their sadness was motivated by the loss of their little fish-gobbling, aquatic charge.  Enter pregnant woman Number Two whom Ulli identifies as the woman from the video tape.  Unfortunately, her child is stillborn and so she takes Fiska’s place in the barrel.  It’s about this point that I found myself thinking of William Blake’s poem “The Mental Traveller” with its repetition and concluding line “and all is done as I have told” – I fully expected the play to end with the repetition with a difference, but not so.

Instead Minna (Hannah Rae Montgomery) launces into what seems a trance-delivered rant, bringing to mind Lucky’s monologue in Godot, which is to say the speech has plenty of non-sequiturs and bits that run on to no appreciable purpose.  Hedda and Ulli sit spellbound until the verbal torrent stops (it seemed about ten minutes) then in unison depart, only to appear on the TV where they enter the lake.

I think I was with it until Minna’s babble began, at which point we’d been in this somewhat grotesque environment for a quite a while and I had a sense of the play groping for an ending.  Further, Mulcahy and Sokolovic were fascinating to watch the first time through but rather less when we came back around to where we started.  And yet, I couldn’t help feeling that we needed to turn the big wheel to get to where we had to go.

If Blain-Cruz’s Salome and Vaska have taught me anything, it’s that this director is not going to let you out the door until you feel somewhat uncomfortable, possibly bored, and almost certainly surprised by something you see, often involving fish.

Vaska Vaska, Glöm; written by Stéphanie Hayes; directed by Lileana Blain-Cruz

Yale Cabaret, Sept. 30-Oct. 2, 2010

Home Sweet Gloom

Shirley Jackson’s We Have Always Lived in the Castle (1962) celebrates social dysfunction.  Whatever one’s opinion of the oddball Blackwoods – Constance, in her twenties, Mary Katherine (Merrikat), eighteen, and old, wheelchair-bound Uncle Julian – one can’t help feeling that their seclusion from the townsfolk of Bennington, VT, is merited, that something sets the Blackwoods apart from the hoi polloi, and that “something” makes the Blackwoods worth knowing about. The “something,” as so often happens in Gothic fiction, is a dark past, but in this case, it’s not a secret, but rather something everyone knows: Mrs. Blackwood and Mr. Blackwood, the latter the brother of Julian, and Julian’s wife, and Tom, the girls’ younger brother, all died of arsenic consumption six years ago.  The poison, which Constance bought to kill rats, made its way into the sugar, you see, sugar which was used as topping for early raspberries served by Constance at a particularly fateful dinner.  Constance, who never eats sugar, was spared, as was Merrikat, sent to her room without any dinner.  Julian, who sweetened his dessert sparingly, was left an invalid.  Constance, of course, was acquitted of murder, but condemned for the deaths by the townspeople.

Adam Bock and Todd Almond’s musical of the novel, directed by Anne Kauffman, now playing at The Yale Repertory Theatre, opens with Merrikat, played with a sly and wiry girlishness by Alexandra Socha, stepping to the footlights to regale us in song about “We Blackwoods.”  The upshot of Merrikat’s every pronouncement is that insular families, whatever their oddities, are preferable to intrusive neighbors, who should simply butt out.  Certainly that’s the point of Jackson’s novel, where some personally important aspect of the inner life must resist attack by the forces of uninspired and uninspiring conformity, tiresome normality, and aggressive mediocrity.

In the musical, those qualities take the form of a stock cast of locals who like to amuse themselves with catty remarks and provoking jokes at the Blackwoods’ expense.  But the real bearer of a threat comes from within the Blackwood clan itself.  Young cousin Charles (Sean Palmer, with a good voice and engaging dance moves), son of the other Blackwood brother, Arthur, shows up after the death of his destitute father to see what’s doing with the branch of the family that still has at least a large, crumbling property to their name, a name now primarily upheld by retiring, yet charming Constance (Jenn Gambatese), tireless cook and gardener and caretaker of Julian.  Constance, played with a light, maidenly obtuseness by Gambatese, seems content with her twilit spinsterhood, until Charles arrives and makes her think about herself and duets with him (the sprightly “She Didn’t Get Very Far”) and dancing (to a wry little ditty called “The Stomp”) and longing (the evocative “come to me” interlude).

If this were your typical musical, we’d be rooting for Charles to sweep Constance off her feet and rescue her from this premature mausoleum.  But this isn’t that musical, and we aren't.

In part it’s because Merrikat got there first: she sweeps us away with her confidential songs, her winning manner, her knowing certainty that Charles, ultimately, only wants to take away the sisters’ peace without giving anything of value in return.  By the time the townfolk stage an outright siege on the castle – echoing all those horror films where the villagers attack the stronghold of Frankenstein to destroy the monster they can’t understand – Merrikat, who had more or less challenged Charles to a duel, has proven her point.

The stage business in this play is captivating enough to make us want to stay in the castle with the Blackwoods – the American Gothic gloom of David Zinn’s set, Ilona Somogyi’s gorgeous costumes for the ghostly ancestors who mainly keep to the upper story, intoning their musical support of the surviving Blackwoods’ isolation, the at-times sharp, at-times senile comments by Uncle Julian (a usefully comical portrayal in Bill Buell’s show-stealing hands), the musical numbers, directed by Dan Lipton, that are revealing dialogues, and the arch musings of Socha’s irrepressible Merrikat.

The World Premiere of We Have Always Lived in the Castle; Book and Lyrics by Adam Bock; Music and Lyrics by Todd Almond; Based on the novel by Shirley Jackson; Directed by Anne Kauffman

September 17 to October 9, 2010, Yale Repertory Theatre, at the University Theatre, 222 York St.

Which Side Are You On?

For the second feature in the Yale Cabaret’s 2010-11 Season, Artistic Director Andrew Kelsey, project initiator Louisa Proske, director Flordelino Lagundino, and producer Jennifer Newman offer a truly surprising and striking work, Caryl Churchill’s Far Away (2000), a vision of dystopia whose full horror sneaks up on you, a horror perfectly etched with inspired absurdist control. Churchill’s plays typically explore themes of social and political dysfunction, but unlike some of her work, Far Away does not reference any overtly topical themes.  Instead, Far Away maintains a grasp on the political realm by suggesting how “regularized” or “normative” the most appalling circumstances can become.  The totalitarian state functioning beyond the scenes we see portrayed can only be inferred, and that is what makes the play so lethal: the way references to the status quo always presuppose the logic – and an acceptance – of the situation, whatever it may be.  As we gradually get up to speed – in three scenes taking place over an indeterminate span of years – we find that the world of the play has either gone entirely mad, or is literally comprised of endless war efforts, not only international, but interspecies in scope.

The great strength of this play is how good the dialogue is.  In the first scene, a woman named Harper (Alexandra Henrikson) tries to command her niece Joan (Laura Gragtmans) to return to bed, only to uncover gradually that the niece has witnessed her uncle involved in an act of brutality, an act that Harper denies, then reinterprets for Joan’s benefit so that it seems a benign act, all for the best, though one that must be kept secret.  What we don’t know, for a fact, is whether or not this couple is trafficking in abducted children or is actually helping them escape while brutally punishing traitors, but in either case, the slow burn by which the step-by-step discussion takes place establishes a world where normality is a thin veneer over inhuman acts, whether desperate or depraved.

The second scene is a workplace, a hat-making shop.  But the oddities of the headgear being prepared by Joan (now young adult) and her senior co-worker Todd (Chris Henry) add an element of humor to what soon becomes another appalling situation.  In the midst of their amiable workplace flirtation are little dropped facts like watching televised trials late into the night, or arbitrary problems with the workers’ job security.  We learn that the hats are for parades, and shortly after we witness an example, as limping, zombie-like figures cross the stage, drably attired but for fantastical hats.  It was a stunning moment of theater, implying both a complete loss of human dignity as well as gesturing to what we might think of as totalitarian aesthetics, adding a touch of the circus on the way to the gallows (a tip of the hat to Costume Designer Ana Milosevic for the entertaining chapeaus atop figures from a gulag).

In the final scene, the world is at war, as we learn strictly from the dialogue between Harper and Todd, waiting in Harper’s bland living room for Joan to return, and debating which animals and other creatures have joined forces with which nations.  Churchill pushes the idea that “everything is political” to its logical, absurd conclusion: even the animal kingdom is political.

The revelation for me in this production was Henrikson’s performance – in the first scene she was young and maternal, a bit steely perhaps, but we are not sure at once who is the problem: her or her niece.  As the dialogue unfolds we remain uncertain: is Harper completely duplicitous, making up things to explain away Joan’s fears, or uncertainly initiating the girl into the harsh realities of their world?  And it is that uncertainty about Harper’s character that makes her so intriguing.  In the final scene, Henrikson conjures an older Harper, not bitter so much as run ragged by maintaining a grasp of the world that necessitates knowing, for instance, which side the deer are on.  As she berates Todd for his slips in the party line, her hectoring tone – despite the absurdly wild things she is saying – never slips into comic histrionics.  We see a woman who actually lives in the world she describes, thus making it vivid and real to us as well, and unforgettable.

Far Away has two more performances: tonight, Sat. 25th, at 8 p.m. and 11 p.m.

Far Away, written by Caryl Churchill; directed by Flordelino Lagundino

Yale Cabaret, 217 Park Street, New Haven; 203.432.1566; www.yalecabaret.org

A Play of One's Own

Last Friday and Saturday nights The Wicked Wolf in New Haven hosted the inaugural Second Sex Play Fest ("second sex" as in the title of Simone de Beauvoir's famous classic, NOT the second "sex play fest").  Under the auspices of the New Haven Theater Company, the project was conceived to address the lack of significant parts for actresses in the dramatic literature. According to Producing Director Kaia Monroe, of Southern Connecticut State University, in the last three Broadway seasons thirty-two plays were produced; of the two hundred fifty-nine characters in those plays, only seventy-one were female.  The Second Sex Fest seeks to address the disparity by producing a new works festival in which all the characters in the all the plays are female, and by publishing an anthology of the winning works so that the parts can be made available to acting classes and theater groups hungry for female-based drama.

So, what were the five plays produced, out of the forty submitted, like?  Well, for starters, it was a bit odd, perhaps, that all the chosen plays were written by men.  I say "perhaps" because, while I don't believe characters of a certain gender can only be convincingly written by authors of that gender, it may seem a bit one-sided to give only male playwrights the limelight.  Be that as it may, one must accept the judgment of the choosing committee that these were the best of the bunch.

As roles for women, the plays seemed mainly to offer caricatures: Erik Christian Hanson's Jean Awareness gave us two women who had been busted for protesting the Oscars on behalf of Jean Arthur, an Oscar-less actress famous for screwball comedies and regular gal roles; the actresses, Kerry Tattar and Bethany Fitzgerald, were quite engaging in parts that called for broadly conceived coarseness to bring out comically the women's emotional engagement with their heroine; D. Richard Tucker's A Very Lovely Dress, the only play that wasn't a comedy, in which a very maternal tailor (Elizabeth Reynolds) converses with a young girl (Susannah Resnick) selected to represent her people at a public ceremony -- the drama of the piece centered on the anxiety of a woman having to present herself as emblematic at such occasions; Jack Rushen's Jane in Hell in which Amanda Ratti played the appealing and promiscuous Jane who, in hell, has to periodically enact disco moves (because she said she hated disco) and who welcomes a former male sex partner Ira (Adrienne Brown) who has been condemned to endure eternity as a female while spied upon by his Jewish mother (Judy Lenzi-Magoveny) no less; John C. Davenport's Tough Love in which two manly biker girls, Tanya (Kaia Monroe) and Patty (Hallie Martinson) assert their heteroness the way manly male bikers might and Tanya shocks herself and Patty by deciding to become a wife; and Michael Ragozzino's Everything You Own in a Box to the Right, a political satire in which a Republican candidate Martha Margaret (Margaret Mann) finds herself catapulted into the big time where ambition dictates she align herself with the ultra-right wing aspects of the party as comically enacted by a trio of ideologues (Kelly Boucher, Patricia McCarthy, Barbara Hensel) sent to counsel her, over the protests of her more moderate assistant (Sandra Rodriguez).

For the most part the plays moved briskly, as dialogue-driven situations that could be quickly grasped.  Rather than full-scale productions, these were more like workshop presentations, script-in-hand.  Most of the appeal came from exchanges in which the actresses could bounce off one another verbally -- as for instance the great comic timing in Tough Love -- or from moments of physical comedy, as for instance Adrienne Brown having to disco while enacting a man in a tearful woman's body, or the priceless moment when Kelly Boucher, as a faux Southerner, coached Margaret Mann and Sandra Rodriguez in how to grab their balls.

Everything You Own, directed by T. Paul Lowry (who kept the comedy crackling in NHTC's production of the all-male play Glengarry Glen Ross last spring), was the most ambitious play presented.  Its portrayal of political machinations voiced and enacted entirely by women was a telling choice in the age of Hillary and Sarah, but the script could have used some trimming as it rambled a bit and the transformation of Martha into a spit-perfect mouther of Tea Party truisms, while sustained by an undercurrent of anger, only offered skewering of the GOP with no real surprises -- unlike, for instance, Jane in Hell 's introduction of a stereotypical Jewish mother into hell, which included her shock at Jesus' "I told you so" smile when she faced his judgment.

All in all, the offerings demonstrated a few points: male characters aren't necessay for successful plays, and plays with all female characters needn't be Soaps full of Oprahesque uplift.  If the plays still fell short of giving us complex female characters, well, there's always next year.

So we beat on . . .

muse, the final show of the Yale Summer Cabaret 2010 season, is an original dance-theater piece, a two-character drama that presents the story of Scott and Zelda Fitzgerald from the point of view of the afterlife. Brenna Palughi conceived the idea, scripted it in collaboration with her production team, Danny Binstock, Walter Chon, and Adina Verson, directs and choreographed the show, and stars as Zelda.  She finds in the story of these literary icons the kind of vivid fascination that, these days, attaches to the likes of Brangelina.  Scott and Zelda lived lives that were not only passionate and artistic, but were also emblems of their era, the Roaring Twenties, forever associated with them, both because of Scott's works, such as The Great Gatsby (1925), and the couple's lifestyle.

To present the reality of the couple, Palughi's script uses only the duo's actual words -- mainly from their considerably articulate correspondence.  But rather than try to recreate the events of the couple's life, Palughi cannily creates a retrospective fantasy, a kind of Satrean "no exit" space where the couple have to face eternity by trying to make sense of what they were to each other and why it went so wrong.

One of the most unforgettable moments, as a glimpse into the abyss the public couple tried to skirt, derives from a transcript of a session at the Fitzgeralds' home with a  psychologist (voice of Joby Earle) in attendance to act as arbitrator.  Zelda, who had wanted to be a dancer, published a novel, thus treading on her husband's territory.  Worse, she was now working on a novel based on events Scott was trying for years to draft as material for what would eventually become Tender is the Night (1934).  To hear Scott baldly declare the conditions under which his wife must live, in order to continue being his wife, is rather appalling to anyone who expects something closer to mutuality in marriage.  On the other hand, the position Scott speaks from is not really one of bullying strength, no matter how his words sound.  He is in need of Zelda, hence the title of the piece: muse.  Without Zelda's participation in his life, Scott seems to fear a loss of his bearings, but at the same time, any act she might take in her own interest would be considered a complete betrayal.

As Scott, Binstock enacts vividly Scott's nature via dance and dialogue.  He displays graceful self-control in a lengthy dance piece with Palughi that narrates the couple's entire story with considerable economy and aplomb, but we see the pressures he faces take actual physical toll on his movements.  And in his spoken protests and pleas Binstock shows us a Scott verging on a loss of control that, if it were to occur, might have been a saving grace.  Instead, we always feel Scott's grasp of himself, so thoroughly buttoned up in his lovely suits, no less tenacious for being tentative and vulnerable.  Only when he dances do we see some of the "light fantastic" that makes the prose so golden, so self-assured.

In a segment where word and movement are particularly well matched and powerful, Zelda kneels on the stage reading a letter from Scott comprised of nothing but hurtful, insistent, resentful, relentless questions while behind her Scott performs a marionette's series of jerks, slaps, and contortions.  Here we see the perfect visual realization of something almost inhumanly mechanical -- the way his concept of himself as a writer controlled Scott just as fiercely as his need to control Zelda.

As Zelda, Palughi's dancing is able to express an openness and abandon that seems, from all accounts, to have been part of Zelda's fascination.  But it's also fascinating to hear how lucid she could be, even when threatened with an asylum.  Palughi's voice at times gets strident but never veers into the kind of hysteria we might expect.  Her Zelda is verbally in control, even if her expression at times becomes a doll-like fixity, the mournful gaze of a spirit trapped forever in her husband's vision of her.

For all the tensions and darkness of this marriage, Palughi's sense of the material highlights its romantic potential.  Elizabeth Groth's costumes are lovely; her set is a world literally papered with words; the music -- Gershwin for instance -- breathes with rapture and jaunty melancholy; Sarah Lasley's newsreel-like projections add the necessary touch of the mediated reality that encroached on these lives, making them famous and a part of our nation's permanent record.

In the afterlife, "hell is other people," but if the people were truly a couple -- overriding even "til death do us part" -- it may be possible to see that the feeling "to be young then was very heaven" might also override all-too-human failings with the heady thrill of being "beautiful and damned" for all time.

muse;  conceived and directed by Brenna Palughi

July 29-August 14, 8 p.m.; August 7, 2 p.m.

Yale Summer Cabaret: 203.432.1567; SummerCabaret.org

Jeff VanderMeer's "The Goat Variations" and "Three Days in a Border Town"

One of the abiding pleasures of writing books, and being lucky enough to have them published, is the way in which they have led me to discover parts of the literary world I may not have discovered otherwise. Among them is a brand of science fiction and fantasy that's been given all kinds of labels—my favorite is the New Weird—but basically boils down to books in which many strange and interesting things happen, and in which the writing is really, really good. My running favorite author in this group, which makes him one of my favorite living authors, period, is Jeff VanderMeer, a prolific and vastly talented writer perhaps best known for his books about a fantastical, decaying, and distinctly postcolonial city called Ambergris. In these books, VanderMeer displays not only an astonishingly rich imagination, but also a pretty ridiculous command of numerous fiction styles, from quasi-Borgesian to hard-boiled noir. His books are social, political, personal: everything I want in fiction. If I were the competitive type, I'd say he's the man to beat. Which is why when Matthew Cheney—an NHR contributor, among many, many other things—asked me if I'd contribute to a series of reviews on VanderMeer's new short-story collection, The Third Bear, I was all over it.

I said before that one of the things I like so much about VanderMeer's writing is his deft mixture of the social, political, and personal. "The Goat Variations," which Kevin Brockmeier singled out for praise in his blurb of The Third Bear, accomplishes this to great effect, as the leaders of a nation falling apart at the seams catch wind that a calamity is coming, but don't know how to stop it. Oh, right—this story also involves alternate realities and time travel, which makes for a really heady mixture. Conceptually, VanderMeer sets up a very difficult task, that of writing directly about George W. Bush without hitting us over the head, and yet still giving the story teeth. He might not quite get away with it; there's still a sense that VanderMeer's too close, that there hasn't been quite enough time to digest it all. I say this with humility, though: I would have been a bit frightened to even attempt to write a short story like this, and certainly wouldn't have done as well. And the story still has plenty of teeth, as I find myself returning in my mind to VanderMeer's vivid image of George W. at the beginning of his administration, bludgeoned by catastrophe, the world as he knows it ending all around him, and him just not knowing what to do.

And then there's "Three Days in a Border Town," which is one of the best pieces of short fiction I've read in years; it's no wonder it showed up on awards and best-of lists when it was published in 2004. In it, a sharpshooter moves through a dusty border town in the middle of a desert, looking for her husband, but it's about so much more than that. It's about devastating loss, hovering just beyond the horizon; it's about figuring out how to move on. Matthew Cheney has said why this story is amazing as well as anyone, and he's right. It's Beckett, it's the better end of Dennis Lehane (particularly the short story "Until Gwen," with which it shares a narration written, with wild success, in the second person), and it's VanderMeer at his best, precise and luminous, transporting and transfiguring. "Three Days in a Border Town" is the kind of story that seems to take in the whole world, to be about everything at once, and it shows that when VanderMeer's writing at the top of his game—which is pretty much all the time—it's foolish to talk about beating him, because you can't.

Enjoying New Haven: A Guide to the Area by Betsy Sledge and Eugenia Fayen

The closing of Clark's Dairy, and the news that Rudy's will be relocating to a location that bears absolutely no resemblance to the place it's been since it opened in 1934, have bummed me out significantly, but I think I can handle it. What made me realize I had to snap out of it (particularly in regard to Clark's) was the act of stumbling on a copy of Enjoying New Haven: A Guide to the Area, by Betsy Sledge and Eugenia Fayen. This is a little paperback that I remember my parents having a copy of in the late 1980s. I don't think I ever looked at it then but I do remember throwing it out when they moved out of their apartment downtown. The edition I remember -- and which is now sitting on the desk next to me -- is from 1989 and was published by Sledge and Fayen as East Rock Press, Ltd., and it is a fine little guide to the city with some really lovely prints. I found a copy of it a couple of Saturdays ago. I had spent the day at the Institute Library, a wonderful quiet place to go when you need a place that's wonderful and quiet, and on leaving, I went into the English Building Market, which is a couple of doors down. I cruise the place fairly regularly but hardly ever do I look at the books; however, this book caught my eye: I thought, "Oh, what the hell," and bought it.

So let me tell you: reading a guide to New Haven from 1989 is a trip. It's really a strange experience. I found myself remembering shops that I had really and truly forgotten about, though they were once landmarks of downtown New Haven. Scribbles, a shop on Chapel Street, beneath the Yale Center for British Art: you went there for stupid doodads, stickers, obscene greeting cards, and other things no sane person would spend money on. I'd forgotten all about that place. And what makes that awful is, I actually worked there briefly. For about two days. The job was so deplorable that, at the age of 16, I phoned them and said, "Yeah, hi, I won't be coming in. No, I don't need to pick up the paycheck. Keep it." I never wanted to set foot in there again.

How could I have forgotten about Scribbles? And yet I did.

The guide mentions Gentree's, a fairly dignified restaurant that used to be on York Street, in a building that no longer exists because Yale tore it down. It was on York near Chapel, a site now housing the new part of the Art and Architecture school. Gentree's was originally a men's clothing store; I own an overcoat from there, which I acquired at a tag sale on Orange Street simply because I wanted an article of clothing with the Gentree's label. The men's shop closed, and somehow Gentree's was re-conceived as a restaurant, the kind of place where you could get decent burgers and serious drinks. Plants; dark wood; 80s yuppie heaven. Gentree's closed, and I was sad; it wasn't that it was such a great restaurant, but it was reliable. Fitzwilly's, which was on the corner of Park and Elm Streets, was a similar establishment, but much larger, and I was very sorry when they closed, too.

And the Old Heidelberg! Which is now a Thai restaurant! How can it be that the Old Heidelberg is a Thai restaurant? Well, it is the case, my friends. Been that way since 1991. Which means that the Old Heidelberg has been gone for almost twenty years. Which means that there's at least one generation of people to whom that space has "always" been a Thai restaurant.

A sobering thought.

New Haven is, I suspect, no different from any other small city, or even town, in this regard: any business establishment that opens and then lasts longer than three to five years becomes, simply out of its survival, an institution. Some institutions are more entrenched than others: Rudy's may thrive in its new spot, but it won't be Rudy's, really; it'll be something else -- but even so, you know that for the next ten years, there will be people sitting around bars around town going, "Man, remember Rudy's, that night when...." I know that's how it is with the Grotto, a club on lower Crown Street that closed in I think 1988 or maybe it was 1989. New Haven is filled with sentimental chumps like me who remember every club, every restaurant they ever ate at, every store where they ever bought shoes, and lament their closings. If you don't believe me, there is proof on Facebook, even about the shoe store: Cheryl Andresen's shop Solemate, which started on State Street and moved to York Street, is much missed by many. I still wear shoes I bought from Cheryl and her shop closed in 2000. Are people more sentimental in New Haven than in other places? I have no idea. But when I meet someone who has been here a long time, inevitably our first conversation includes a litany of "do you remembers": the Daily Caffe; the Willoughby's on Chapel Street; The Moon on Whalley; the Third World International Cafe... it's always sort of romantic, actually, these conversations. We woo each other with our memory banks of the Nine Squares and the streets that radiate from it. Tight friendships are born out of these shared memories of places long gone.

Mamoun's is still here. Mysteriously, Clarie's Corner Copia is still here. Ashley's is here. All true.

But I miss Thomas Sweet. I miss the pancake restaurant that used to be on York Street. (Not the crepe place; I mean the pancake place; it was where Bangkok Gardens is.) And don't even get me started on the bookstores.

Do You Believe in Magic?

Director Devin Brain and the cast of the current Yale Summer Cabaret show, The Phoenix, have given themselves quite a task: to render a situation that could be either fantasy or reality, when either is potentially alienating.  Based on a haunting story by best-selling Australian author Isobelle Carmody, the play has been derived by the cast via an improvisational process of discovery, which means that the presentation is not scripted so much as agreed upon through trial and error during a long period of gestation.

If that sounds daunting, it should.  But it also may be the best way to approach a story like this which relies so much on shared fantasy among its characters.  The logic seems to be: if the actors are making things up together to make the play exist in the first place, they'll be all the more convincing as the fantasizing characters they portray.

William (Ben Horner), we're told, is the "local feral child" -- an amusing appellation, but one that means his character will be hard to read.  He addresses Ragnar (Shannon Sullivan) as a princess -- and not figuratively.  He actually seems to believe they are foundlings from another world, left to wander a beach deserted but for a wounded gull Ragnar names Greedy.  In addition to using a bird puppet, the play fleshes out the bird via William Demeritt, complete with feathers at his temples, a brace, and a crutch, appearing at times like a guardian spirit fallen on hard times as he manipulates dolls that emulate the scenes the actors play out.

Though the dark backstories of Ragnar and William are a bit sketchily thrown at us before we have much idea of what's going on, Horner and Sullivan fascinate us with the strange mix of desperation, denial, and happy inspirations that unite the duo.  One device I particularly liked was Sullivan showing us, mutely, a series of photographs while looking at us with facial expressions that telegraphed exactly how Ragnar felt about each image and how we should read them.  That didn't mean we necessarily grasped the narrative, but the effort to communicate it was palpable.

But when Torvald (Joby Earle), a charismatic boy from a different class and school, enters the scene, things really begin to click.  Before that we're just trying to follow the logic of a folie à deux that seems harmless if unsettling; once the third character is introduced we have a conflict.  Will he enter -- as he seems to -- the rather grand, Dungeons and Dragons-like world the other two mentally inhabit, or repudiate it?  And if he does enter it, is he sincere or after something?

At this point in the story, the three principals act out their interactions via the dolls, and suddenly a feeling of truly being transported to those fabled lands of childhood playtime comes to life.  And once Brain and company has us entertaining how wonderfully trusting and expressive and vulnerable that world of shared make believe can be, they've got us primed for where they want to take us.  It becomes an uncompromising and tragic play about the unwritten laws we intuit and then either respect or betray when entering into private, personal bonds with one another.

As ever at the Cabaret, it's the unexpected touches that impress us as theater: the song William makes up, seemingly on the spot; Ragnar's bike helmet; Torvald's inspired use of an overhead projector; moody musical tones, particularly an expressive acoustic guitar part, that surrounds the action, provided by musical director Nathan Roberts; and, finally, that frail craft -- a boat upon a boat -- that gives us poetry as closure.

The Phoenix, from the story by Isobelle Carmody; adapted by Devin Brain and the cast; directed by Devin Brain

July 1-17, 8 p.m.; additional 2 p.m. show on the 10th; Yale Summer Cabaret, 203.432.1567

Strange Bedfellows

David Rabe, Girl By The Road At Night, NY: Simon and Schuster, 228 pgs. One could say that David Rabe is obsessed with the Vietnam War.  Best known for a trio of award-winning plays in the '70s that deal with that conflict and its effect on those who fought in it, Rabe has more recently turned from theater and taken up fiction-writing and now, with his latest novel, returns to the war that made him famous.  We could say that he does so because he knows he can write about it well -- Rabe served in Vietnam in the mid-'60s -- and because, perhaps, it's a part of our history that never goes away.

I found myself questioning that last supposition in the early going of this poetically spare, episodic novel.  Is Vietnam a national obsession still, or is it Rabe's more than ours?  Perhaps more to the point -- regardless of what you think of the war and its era -- is the question: is there anything more to be done with it?

It may be an unfair question, but when you see the novel's rather taciturn and self-involved protagonist Joseph Whitaker, on the eve of his depature into the army, hanging around in DC hoping to get laid by a war-protesting flowerchild, you might be excused for thinking it all a bit too familiar.  But when Whitaker drops in on his former girlfriend, now involved with a new guy, he begins to come alive a bit more, taking on dimension due to a feeling of unfinished emotional business that could lead him to more interesting experiences.

Rabe alternates the chapters depicting Pfc. Whitaker's misgivings about service in the war and his general lot in life with chapters that introduce us to Quach Ngoc Lan, a Vietnamese prostitute plying her trade at Madame Lieu's, where GIs can get their jeeps washed and their junk moved simultaneously.  Rabe is very effective at rendering how the GIs view these locals, but there aren't many surprises here amidst the general racism and, occasionally, grudging appreciation of what would've been thought of as "oriental mystery."  But gradually the interiority of Lan, attenuated as it may be by lack of education and a rather elemental sense of life, becomes louder and louder for the reader as her pidgin English -- where Rabe gets to show his command of dialogue -- comes to seem not a limitation so much as a unique form of communication.  Her motives and her actions are often glimpsed through the viewpoint of others, but Rabe's greatest achievement is making us feel not that we know Lan but that we would very much like to.

Is Lan the all-too-familiar whore with a heart of gold, and Whitaker the GI who tries to save her from a world they never made?  Frankly, Rabe's tale is not as far from that soapy terrain as some readers might like, or, alternately, doesn't wallow in it to the degree that others might wish.  There is a connection between the two and it might mean something, but Rabe keeps us furnished with enough sense of the grim realities of the setting to prevent us from expecting any improvement for either of them.

But what the interest of Girl hinges on is not its depiction of prostitution and the war -- as forms of exploitation that put both Whitaker and Lan in something of the same position as expendable vassals -- but in its willingness to look unsentimentally at the power that even a minimum of communication and connection can provide between people who are strangers to one another and, to some extent, the situation in which they find themselves and each other.

"Misery acquaints a man with strange bedfellows" Shakespeare said, and the journalist Charles Dudley Warner famously stated that "politics makes strange bedfellows"  Rabe's novel takes for granted that the politics of the war and the misery it gives rise to create a condition that might throw together unlikely bedfellows, and the novel's best effect is making us believe they might have something to offer each other.

David Rabe reads at RJ Julia Booksellers, Wed. June 23, 7 p.m., $5, which may be used toward purchase of the book; 768 Boston Post Road, Madison, CT; www.rjjulia.com

Rock'n'Roll Diva

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The Yale Summer Cabaret debuted its 2010 season with cult favorite Hedwig and The Angry Inch, text by John Cameron Mitchell, songs by Stephen Trask.  Directed by Jesse Jou, artistic director of the Cab this summer, the working conceit of the piece is that we aren't watching theater but rather a rock band, The Angry Inch, led by Hedwig, perform in some dive.  Between musical numbers, Hedwig regales us with tales of her life in an ongoing monologue -- and colorful, kinky, comical, disheartening and inspiring it is.

Hedwig began life as a boy named Hansel living in East Germany before the Wall fell.  An American soldier named Luther falls in love with the "girlyboy" and in order for them to marry, Hansel, who adopts his mother's name and passport, also agrees to have a sex change operation to become female in fact.  The operation is botched and Hedwig is left genitally indeterminate -- neither male nor female, a perfect character to explore the in-between manner of transgenders.

As Hedwig, Chad Raines is phenomenal.  His Hedwig is slyly insinuating, an introvert who has become an extrovert in self-defense.  The special condition of Hedwig's sexuality is both a trial by error that makes her grimly ironic about fate, but also a badge of honor that gives credit to her tale.  For this to work, Hedwig can't seem campy -- simply a guy in drag -- and Raines brings it off admirably.  He gives Hedwig an aloof Dietrich air that can veer into Janis-like vocal lacerations at will.

The latter are fueled by the vulnerability of Hedwig's romantic attachment to Tommy Gnosis, a bigtime rock star whom she had an affair with in their youth (when Tommy was a repressed Christian in a Bible Belt trailer park), and whom she now trails about the country as he enacts musical self-celebration in huge arenas, performing songs Hedwig wrote with and/or for him.  According to Hedwig, Tommy is her missing other half, separated from her à la  Aristophanes' story in Plato's  Symposium.  The double whammy -- thwarted romance, thwarted career -- makes Hedwig a true rock diva, showing us the scars on her heart.

But our Hedwig is also cruel (the East German accent helps with that, ja) to herself and to her smitten assistant Yitzhak (Adina Verson), a one-time drag queen whom Hedwig insists wear butch clothing -- in this production, vintage Grunge.  Yitzhak gets no spoken lines -- except for two 'unprintable' epithets directed at her lover/boss -- but Verson's eyes speak plenty as Yitzhak shares the limelight with Hedwig, providing powerful vocal backup, or cringes somewhere in the background as Hedwig confides -- or performs confiding -- in the audience.

The backing band kicks ass and theater-goers who aren't used to musicals that really rock may be somewhat taken aback.  This is not a rock musical with songs cleaned up for the stage in Broadway's neutered idea of what rock sounds like. The Cab space is, appealingly, just the sort of basement venue Hedwig might be playing in the play's reality, and it's easy enough to feel like a spectator in a club, fascinated by a performer who lets it all hang out, even throwing tantrums at the band that may be real or may be staged, or both.

At the heart of it all is the girlyboy with the brittle wit, the belting voice, and an array of costumes -- the Ziggy Stardust get-up was a dead ringer -- that, like the songs, trigger glam memories and rock'n'roll dreams.

As the song by Spoon says: "when you don't believe, it shows, they tear out your soul / when you believe, they call it rock'n'roll."

I call this rock'n'roll.

Yale Summer Cabaret presents Hedwig and the Angry Inch; text by John Cameron Mitchell; music and lyrics by Stephen Trask; directed by Jesse Jou; music directed by Nathan A. Roberts; photo: Nick Thigpen

June 4th-19th 2010, 8 pm. (No performances on Sunday or Monday evenings.) Additional performance, June 12th, 11 p.m.  To purchase tickets and for more information, please visit summercabaret.org or call (203) 432 1567

Playing the Players

Steven Dietz's Private Eyes is a playful play.  We're never quite sure what we're watching.  Sure, it's a play, and we accept that plays are supposed to be a likeness of reality.  A stage with a desk and a round table and a few chairs can be a space where a woman (Rebecka Jones) tries out for a part with a man (Philip M. Gardiner) who seems to be a director; when later the woman, Lisa, working as a waitress, finds the director, Matthew, at her table, we accept, for the sake of make believe, that the action has moved to a restaurant.  And that's what lets Dietz produce his "gotcha" effect: they both are still on stage, we find, and both scenes, the try out and the restaurant, are part of a rehearsal, and the two are married, and in a play being directed by Adrian (Robert Resnikoff). Scenes that seem like they're happening in real life -- Lisa and Adrian debate how to reveal to Matthew that they have been having an affair -- turn out to be a narrative Matthew is telling to his therapist Frank (Jackie Sidle).  At any moment what is real, what is staged, what is fantasized is in question and sometimes the switches from one "level" to another and back are lightning fast and quite comical.  For instance, Adrian and Lisa are cuddling in bed when suddenly Adrian speaks offstage to Matthew telling him that's how he'd like him to play the bed scene -- the bed is literally on stage of course but at that moment we realize it's actually on stage and that Matthew has walked into the scene.

It might sound like the play is about play acting, about how to represent plausible reality on stage and how to keep breaking through the fourth wall, playing on the audience's willing acceptance of staged activity as actual behavior.  But the play has more to offer than that.  The theatrical sleights of hand keep us off-guard and laughing; meanwhile, we're witnessing how staging scenes -- of seduction, of concealment, of confrontation, of confession -- is a part of the theatricality of everyday life.

Like sociologist Erving Goffman's study The Presentation of Self in Everyday Life, Dietz's play accepts that human interactions always contain an element of performance.  In a sense, we never get to the bottom of these characters because they, like us, are always in a play.

The performance style of contemporary theater is key to making the shifting levels effective:  roles requiring minimal costume change, staged with minimal props and sets, vocal deliveries that stress a declamatory approach to speech -- as if people don't converse so much as aim monologues at each other or try to use verbal cues as a means to assert themselves -- all add up to an open-ended performance that is "like" life only because we accept such theatrical conventions as true to reality, which of course they aren't.

In a way, it seems that Dietz's play is questioning those conventions, but if so, not in any very critical way.  As played by Theatre 4, the play was mainly good fun -- Gardiner in particular made the most of his character's comical state of knowing and not knowing what was going on.  And Mariah Sage, as supposedly a detective tailing Adrian at his wife's request, added some unexpected and racy fun to Matthew's life.  Jones had the task of generating sympathy for a cheater and managed it by suggesting the dramatic thrill of secrecy and the fact that, in theater and in life, we mainly want something to happen.

Steven Dietz's Private Eyes, directed by Janie Tomarkin for Theatre 4, plays June 4 & 5 at Oddfellows Playhouse in Middletown, 203.654.7111, $20 suggested price; and June 10-13, at The Kate in Old Saybrook, 877.503.1286, tickets $32.  For more information: www.t4ct.com.

Hitch-22

By Christopher Hitchens (Twelve, 2010)

I just finished Christopher Hitchens’s magnificent new memoir, Hitch-22. I hated his last book, the one about God — or, as he would have it, god. Well, fair enough. I always thought the big-G god thing was an unfortunate bit of deck-stacking. But it was a truly ill-informed book, one written in bad faith (so to speak), one whose main use was to remind one of the utility of Cicero's dictum that we must state our opponent’s position in the strongest possible terms. When writing about religion, Hitchens never misses a chance to ridicule, or to understand. But this new book...

Well, it should have been obvious that the best book he could write about now would be a memoir. As he tacked from political left to right over the past ten years or so (although he makes a good argument in the book that the shift was much longer coming), his persona, and his writing, have increasingly been self-centered. Even when unintentionally so: whether or not he chose to foreground himself, we the readers certainly began to read him as much for the Him as for the ideas.

So it is a treat, now, to have a book that gives the whole Bildung. And it's just delectable, sassy fun to read about swinging London in the 1970s, when he was part of a set (he reluctantly uses the word) that included Martin Amis and James Fenton, and later Ian McEwan and many others. Their “Friday lunches” became the Algonquin on the Thames, full of wit and wordplay and political swordsmanship.

And those weren’t the only swords unsheathed. The man had sex with a lot of women — and, one is intrigued to learn, a lot of boys and men. Hitchens here makes a convincing and sympathetic case for the public-school incubation of the Love that Dare Not Speak Its Name as a rather beautiful thing, something one can develop a taste for. He is quite frank about his homosexual “relapses” that continued into his twenties, before he gynocentered himself for good.

My one complaint: that he never comes clean about his caddish end to his first marriage, and that he only briefly, economically confess what an absent father he has been, before moving on to more achievements and (wholly convincing) self-justifications about this, that, and the geopolitical other. He has suggested elsewhere that he doesn’t talk about his ugly disregard for his first wife and children because, well, it’s their story to tell, not his. I am not quite buying that. But one friend did make the very cogent case that his glaring omissions actually say something good about him: "Look,” she said to me, “he is open about sleeping with men, but obviously ashamed of the way he has treated those close to him. That actually shows he has a pretty good moral compass — he knows what is shameful and what isn’t.” That makes sense, I suppose. But I still wanted to watch him wear the hairshirt a bit more enthusiastically.

That said, this book is intelligent and humane, and it tells you more about Cypriot history than you thought you wanted to know. Hitch-22 reminded me why I love the author of The Missionary Position, his fervent slapping of Mother Teresa, and his book about the war crimes of Henry Kissinger. Hitchens takes no prisoners, not even himself.

Le Grand Meaulnes

by Alain Fournier (multiple editions)

I had known for a long time that Le Grande Meaulnes was author John Fowles’ favorite book. Since he was one of my favorite authors, I half-heartedly searched for a copy of this lost French classic. But something always stopped me, until I read Henry Miller’s The Books in My Life and realized that Fournier’s tale was one of his favorites as well. I immediately bowed to the wisdom of my elders and found a good translation.

The title itself does not translate well into English. Our word "great" doesn’t really capture the subtleties of the French "grand." So, this title sometimes gets changed to The Wanderer or The Lost Domaine, which I prefer. It captures the essence of the novel’s heart, Meaulnes’ mystical journey to a bizarre masked world that he and his narrator friend can never find again.

Fournier died in World War I and never had the chance to develop into what he surely would have been—one of the twentieth century’s greatest novelists. The delicate descriptions and marvelous evocations of youth have never been more real and bittersweet. This is a book that can be enjoyed for its magic by a child or for its nostalgia by an adult. Still, this is a novel of the in-between time, of adolescence, of growing from that child who wonders happily at the mysteries of the universe to the adult who must take sorrowful responsibility.

We all wish for a place like the lost domaine and a magical experience like Meaulnes has there. But these experiences can consume us until the rest of life seems dry and flat, just as it does for the French wanderer and his friends. Never have the transitions and compromises of life seemed more painful than when Fournier’s fragile characters face them. And this is the central message of the text, that growing up is painful and even the most rebellious of us must bow to the inevitable.

Eric D. Lehman is an English professor at the University of Bridgeport.

My Baby just wrote me a letter.

Continuing a theme: on letter writing: I’ve written and mailed two handwritten cards in the last few days, and I’ve been a magnet, recently, for books about letters. One is a book that came out a couple of years ago, Other People’s Love Letters: 150 Letters You Were Never Meant to See, edited by Bill Shapiro. The other was Ben Greenman’s forthcoming collection of short stories, What He’s Poised to Do.

Bill Shapiro’s book appeared before me, in perfect condition, at a tag sale. I’m not sure it had ever been read. It had almost certainly been given as a romantic gift to someone (the book lacked an inscription, so I can’t prove that; but experience as a bookseller tells me the odds are good). The book looked unread. Clearly the owner had decided, “All right: enough’s enough, I don’t need this anymore.” And the book was banished to the church tag sale donation pile, along with old children’s books, dogeared and chewed up, and bad cookbooks, bought with good intentions but never used.

I bought it because its appearance was, I felt, a Sign. A few days previous to this, an old friend of mine -- someone with whom I engaged in extensive written correspondence for years and years (we now communicate, sporadically, via email) sent me a copy of Ben Greenman’s forthcoming collection of short stories. My friend clearly thought, “Hm, stories about letters. Who would want to read this? Oh: Eva.” I’m not sure what this says about me, but I’ll take it. The book was sent, received, and read pretty much in the same little windows of time in which I acquired and read the Bill Shapiro book, and it’s been an interesting little experiment, continuing what seems to be an ongoing concern of mine: what it means to write letters to anyone these days.

I don’t have any hard and fast proclamations on the subject but one thing is clear to me: people can say all they want that letter writing is dead, but it clearly is not.

Shapiro’s book is fascinating in that voyeuristic way you’d expect. It’s fun to leaf through -- some of the letters are just beautiful to behold, some of them are really works of comic genius, and some of them are gut-wrenchingly sad; you remember every stage of your own roller-coaster ride through romantic life as you go through the book -- but it’s not a book I lingered over.

Greenman’s book, on the other hand, is more of a challenge. The book isn’t a collection of letters; it’s a book wherein letters are central characters in their own right. The fourteen stories in What He’s Poised to Do are set in different places and different times. Each story starts with its title and a postmark serving as a dateline (“Seventeen Different Ways to Get a Load of That,” Lunar City, 1989; “Against Samantha,” New York City, 1928), which is a nice touch.

I’m afraid that, the older I get, the less good I am with fiction. I read it less and less, and I have a harder time just enjoying it. So I balked, a little, but I found Greenman’s collection houses really delicately good pieces. This will not surprise Greenman’s fans. He is a nimble and clever writer. His essays are always a pleasure to read; I now would actually like to go take a look at the novel he recently published, Please Step Back.

In What He’s Poised to Do, there were several stories that left me uninterested, unintrigued, completely, in what the characters had to say. But then, others crawled into my head and wouldn’t leave. Greenman’s collection is noteworthy. To elaborate on that much would, I feel, crush the stories -- they’re kind of like butterflies that way -- but the last story in the book, “Her Hand,” really struck me particularly. I read it once and immediately read it again, though it was hardly heartwarming. It’s a four page long quiet sigh of resignation.

The personally-directed written word -- letter, postcard, email -- written to be read by one person and one person only, is alive and well. Even if reading it doesn’t always make you happy. I’m going to go listen to the Bay City Rollers’ “Rock and Roll Love Letter,” followed by the Box Top’s “The Letter,” and see if I can cheer myself up.

Hello Dolly!

The Long Wharf Theatre production of Henrik Ibsen's A Doll's House managed a surprising feat: it made the play more entertaining without significantly altering it.  If you're a purist who wants to see Ibsen played straight, it does that; but if you think that a play like ADH, with its winsome wifey who gets into some hot water due to an "innocent" forgery, then gets out of it only to slam the door on her happy-ever-after home, is a bit dated and could use some kind of make-over, well, this show does that too.

And that's what I found surprising: first, that one could perch Ibsen on the terrain of a sitcom or a soap; second, that I found myself thinking, well, isn't ADH simply a more revered soap?  After all, the plot of the story is pure soap opera, and there's nothing in the dialogue that aims beyond the play's basic premise, which is something like: happiness is only skin deep.  Scratch it, and it bleeds.  So why not give us an A Doll's House (1879) that resonates in a world of McMansions where -- as is only too timely -- a bit of financial chicanery might bring the whole cloud castle down on a bank manager's ears.

Gordon Edelstein, who did the adaptation and directed, deserves great credit for mining the comic potential in the material.  It mainly seemed to be a matter of emphasis.  The dialogue, a bit modernized, was close to any version of the play we might already be familiar with, but this production included laughs that might be in Ibsen's script but which a less enterprising director might overlook.  There was a breeziness to it that kept it from taking itself too seriously, a breeziness derived from the giddy fun of looking into our neighbors' glass house.

What's important, for a modern production, is that we not be laughing at Nora, the little bluebird, squirrel, chipmunk, as though she were simply in over her airhead and deserving of a little domestic contretemps for our amusement.  Ana Reeder made the most of making Nora likeable, cannily dim rather than actually so.  She managed the protean shifts that are necessary -- the play makes us see -- to be the "perfect wife": temptress, adoring partner, household manager, confidante to friends both male and female, defender of the threatened nest, even sacrificial victim (the latter a melodramatic touch that can't help seeming a bit 19th century).  When, in the end, she does what she's got to do, the shifts from comically desperate to happily saved to proudly determined occur a bit too fast for realism, but Reeder "kept it real," as they say, helped by the change to casual jeans and sweatshirt after the hiked skirt, hose and low neckline of her belle of the ball costume as a dancing peasant girl.  The "street clothes" underscored that her role in the household had been a command performance all along, and it was time for a curtain call.

In the supporting cast, special mention goes to Tim Hopper as Dr. Peter Rank, the ailing best friend of Nora's husband Torvald who carries a torch for her himself.  Their scenes had enough heat to make up for the rather lukewarm affections of Torvald, and Hopper's doomed departure, in cowboy costume with a big cigar going, deserved an ovation.  As Torvald, Adam Trese kept a part that could easily be a caricature sympathetic, even up to his panicked outburst at Nora for exposing him to his enemies.  I liked him best at the end as he babbled about how he forgave her, sitting in his big papa chair, and his attempts to defeat her logic resonate so well, even 21st century males might easily hear Ibsen laughing at us.

As the villain in the piece, Mark Nelson's Nils Krogstad had a kind of shaky petulance that worked well enough in confronting Nora with her wrongdoings, and in his pleas to be reinstated at the bank, but made it hard to see what her friend Christine Linde (Linda Powell) could see in him.  He seemed more eager to end it all rather than able to blackmail a boss's wife or rekindle an old romance.

Michael Yeargan's set was a wonderfully detailed doll's house, its fakery part of its appeal, with plenty of floorspace for Ibsen's and Edelstein's playthings to move about and grope toward some satisfactory vision of the future.

And what of the kids?  It may be much easier for today's male to accept without much soul-searching Nora's claim that she needs to educate herself and find a place in the world; but does today's woman find it any easier to pursue that goal at the sacrifice of her ties to her children than women would in Ibsen's day?  "You've come a long way, baby," since Ibsen's Nora first walked out -- but, Edelstein's production seems to ask, "how far would you go?"

LONG WHARF THEATRE, Gordon Edelstein, Artistic Director; Ray Cullom, Managing Director

presents:

A DOLL'S HOUSE by Henrik Ibsen, Adapted and Directed by Gordon Edelstein, Set Design by Michael Yeargan

through May 23, 2010

The Art of the Matter

  “Art” by Yasmina Reza first appeared in Paris in 1995.  Shortly afterwards it was translated into English for the British stage and turned up at the Royale Theatre (now the Bernard B. Jacobs Theatre) on Broadway on March 1, 1998.  The cast was stellar for this three-person play, performed without intermission.  The six-month Broadway run included Alan Alda, Victor Garber, and Alfred Molina, all well known film and theatre performers.

 The recent weekend performances of the play at the Kehler-Liddell Gallery in Westville this April were perhaps a little less glamorous but were easily just as powerful as its Broadway version—in some ways even more so. Where the Royale Theatre seats 1,100, Kehler-Liddell’s impromptu bleachers and 60 some chairs transformed what on Broadway can only have been an all-too-impersonal experience into an intimate tete-a-tete between audience and performers. Placing the play within a gallery reflected, if anything, the mutual trust exhibited by gallery staff and the Elm Shakespeare Company, which was responsible for this production.

This element of trust is no small matter in a play as powerful as Reza’s. The setting is simple enough: the living rooms of the three characters—Marc (James Andreassi), Serge (Tom Zingarelli), and Yvan (Raphael Massie)—which remains unchanged throughout the hour and twenty minute performance. The key conflict is unsettling, one that should worry any gallery owner in the business of selling art. In brief, Serge, a dermatologist and divorcee, has purchased for 200,000 francs a five-by-four-foot painting of white lines on a white background. This decision immediately upsets Marc, an engineer who condemns the work as trash, to the dismay and disdain of Serge. Their seeming arbiter is the hapless and “chaotic,” soon-to-be-married Yvan.

 While hardly a tale of war or woe, Reza’s play disturbs the universe of art and, as becomes shortly evident, human relations. The opening gambit in Reza’s backhanded criticism of postmodern art—and possibly of poststructuralism, a distinctly French phenomenon that Reza undoubtedly had to live through—is the all-white painting that is the object of Serge’s veneration, Marc’s rage, and Yvan’s confusion. But “Art” goes beyond the obvious conundrums formerly presented by Marcel Duchamp’s institutionalized snow shovels and urinals. (Does something become ‘art’ by virtue of hanging in a museum? What if you pay 200,000 francs for it?) It goes after the relationships among the characters, since it’s on the blank whiteness of the canvas that their relationships are ultimately inscribed, evoking a range of emotion that drives them through the convolutions of feeling that by play’s end leaves the audience near breathless with the verbal pyrotechnics of it all.

This is where mastery of the material makes all the difference, and the ensemble put together for this production really does have firm control of that material. The snugness of the venue and the simplicity of the set demand a conciseness of body language that is belied by the explosiveness of the characters’ pent-up feeling. The contrast of so much energy to be conveyed in so contained a setting ultimately creates a bond between players and spectators that only a great performance in the right environment can convey.

This simpatico between audience and ensemble seems exactly the intended goal of this experiment by Elm Shakespeare Company and Kehler Liddell Gallery to bring high art of high quality to New Haven’s neighborhoods. “Westville is something of an arts district already strong in the visual arts with its many galleries,” noted Elm Shakespeare founder and director James Andreassi. “Elm Shakespeare’s goal was not only to find an indoor space for performing smaller plays but also to take advantage of the artistic energy in Westville and deepen it by bringing the theatrical arts to the neighborhood.” In that regard, Elm Shakespeare both follows in the wake and leads along with works that have been aired by New Haven Theater Company, Broken Umbrella Theatre, and Theatre 4.

This article is cross-posted at the New Haven Independent.

Nature Boy: A Review of Edward Abbey

Review of Beyond the Wall: Essays from the Outside by Edward Abbey

Holt Publishing, 1984

Edward Abbey--who reflects not only a personal need for expatriation and that delicate hint of misanthropy in my demeanor --has subdued Bruce Springsteen’s place in my heart.  Abbey’s Beyond the Wall: Essays from the Outside seems, at first glance, easy to dispense with as another example of environmentalist earth-mother literature. But for one sufficiently sensitive to the nuances of writing in this genre done well, a reader is able to see like Abbey, feel like Abbey, and travel with Abbey through “Eden at the dawn of creation.”

In Abbey’s essay collection, notwithstanding its focus on the cascade  of nature's plethora, one can see signs Neil Postman and Marshall McLuhan and their ideas on how the tools of technology have red-lined the natural tools of society: humanity’s own brain power and its ability to use that power having become dependent on a technology of effortlessness.

To be fair, Abbey had me harboring some guilt of my own as I took a distinctly indoor pleasure in this book of the outdoors.  Abbey travels natively and minimally, carrying only what is necessary to survive, not to live comfortably in a technologically-dictated world.  He brings water, careful observation, and a decisive love for a rough and unlovable desert region, reminding readers that nature is intended for all, not merely the affluent who purchase land only to destroy it by building million-dollar homes and strip malls.  As McLuhan says, “affluence creates poverty.”  Abbey’s desert wasteland exemplifies in its unique way that sad fact of modern civilization.

Much like Neil Postman’s Technopoly, Abbey’s Beyond the Wall illustrates in tender detail how we have quite literally given up everything that gives meaning and direction to this ephemeral, all-too-rapidly lived life, clawing, like kittens, at the conveniences technology dangles in front of us.  Abbey forces his readers to question their decisions, their comfy cubicle chairs, their guaranteed health insurance and to get up and let “the rattlesnake and the screech owl amuse [their] reverie” and do something that does not leave them just emptier.  Emptiness--even in a barren desert--is not inevitable, and maybe readers need Abbey to remind them of this.  In Abbey’s desert, it is the fact of this isolation—expatriation, as he terms it--that leads the imagination along to affluence of mind instead of bank account.

Dare I say that I find myself envying Abbey?  How he is able to find perfection in nothingness, in what appears as miles piled upon miles of destitution.  Having emphatically placed himself in a location from which anyone else would willingly die to escape, he is happy.  He is at peace as a “desert rat.”  I find myself secretly desiring to hitchhike back to the farm between a cornfield and a horse ranch and to relish what I personally had forsaken for so long.

Moreover, his keen sense of specificity and willingness to violate his readers’ comfort zones let him write with wit, perceptiveness, peacefulness, and a surprisingly brusque sarcasm—quite the change from your typical earth-mother literature!  If not because his inspiration or his sincerity, then for his wit and wisdom, one must appreciate Edward Abbey and dare to trek “beyond the wall of the unreal city, beyond the security of fences . . . beyond the rage of lies that poisons the air . . . [to] another world waiting for you, . . . the old true world of deserts, mountains, forests, islands, shores, the open plains.  Go there.  Be there.  Walk gently and quietly deep within it.”

Out of Africa

Bernard-Marie Koltès' Battle of Black and Dogs (Combat de nègre et de chiens), translated by Michaël Attias, and directed by Robert Woodruff, is the second play this season at the Yale Rep to take us to vague environs in Africa to witness a drama among a small group of people cut off from the world at large.  Like Danai Gurira's Eclipsed, BBD places us in a compound, but this time it's a "construction site run by a foreign company in a West African country, anywhere from Senegal to Nigeria," where the main characters, white and French, are confronted by Alboury (Albert Jones), a member of a local Wolof tribe who wants to retrieve the body of a worker at the site who has recently died or been killed.

At the site, the boss, Horn (Andrew Robinson), primarily drinks and gambles with his underling Cal (Tommy Schrider), an engineer who should be higher on the ladder than Horn, but is not exactly what you'd call management material.  In fact, he killed the Wolof worker for almost hitting his shoe with a gob of spit, then insisted it was an accident, then tried to dispose of the body in various ways before finally flinging it in the sewer.

This interracial workplace drama is further complicated by the fact that Horn has recently returned from a trip to Paris and brought back a woman he hopes will become his wife.  Léone was a chambermaid at the hotel he stayed at who, as he puts it, always answers yes -- particularly to the offer to come with him to Africa, to see the fireworks display he's going to set off before leaving the country for good.

Cal will make a pass at her (or rather will paw her in an unsettling fashion while babbling inanities); she'll fall for Alboury (in an odd courtship in which she speaks German and he speaks Wolof, though he does understand French, her native language; the double estrangement is no doubt meaningful, but rather leaves the audience in the dark about what they are saying to each other -- does the fact that she's reciting the well-known poem "The Erlking" help?).  Things will not end well, though, all things considered, not as badly as they might have.

In such a stylized play, all the emphasis is on performance.  Robinson, resembling the aged Jon Voight and sounding at times like the aged Jack Lemmon, inspires a certain Everyman confidence as Horn, particularly as he's not that virulent a racist, and speaks for the most part sensibly to Alboury, even addressing him as "sir" initially, and though trying to buy him off may be crass, that too is sensible since the body of Nouofia is unrecoverable.

As Alboury, Jones is given a cipher rather than a character, a representation of elemental difference, perhaps; the "nègre" of the French title is no doubt infused with ideas of "négritude," which makes the whole feel a bit dated or at least resolutely Francophone.

But even harder, for me, was reading the character of Léone who, in the girlish, lost little lamb voice Middendorf used, might well have fallen from the moon rather than Paris, despite a remark about Saint-Laurent's Africa boutique.  Her ritual cum guilt cum scarification cum symbolic gesture of blood-letting late in the play was heavy with portent but light on sense or catharsis.

As Cal, Schrider is the live wire in this production and the play's most dynamic character: unpredictable, seething, at times funny in the way that those who speak in earnest rants can be -- at first, a bit of Dennis Hopper in Apocalypse Now to Boss Kurtz, though way more unstable than Horn.  He also appears in one scene naked and coated in what is -- rather believably -- meant to be shit, and also showers in full view of the audience before donning his sacrificial whites.  It's a demanding part, to say the least.  Whether or not the nudity is gratuitous -- it's Woodruff and not Koltès who insists on it -- it did rather distract from the dialogue.

While there are problems with the play's plot and staging, it should be said that, to give Koltès his due, each character does get at least one fascinating monologue, and it's the talk that mainly sustains our interest.  My favorite speech was Horn's description of a city that would take up only half of France and could house the entire population of the world in 40-story apartment blocks.

The set, designed by Riccardo Hernandez, is interesting, with a big basement room with a cot and cage visible below -- and more naturalistically furnished than -- the spare stage above,the latter dominated by a kind of shack of corrugated slats, a table for the drinking/gambling, little spots of dirt, and some bougainvillea hanging in the cylindrical lights above.   It looks like nowhere on earth, and if we were told it was a construction site on a planet somewhere far, far away, that would be easy enough to believe.

BATTLE OF BLACK AND DOGS, Yale Repertory Theatre, April 16 to May 8, 2010, written by Bernard-Marie Koltès, translated by Michaël Attias, directed by Robert Woodruff; photograph, Joan Marcus

In the Sea's Grey Suit: The Poetry of Don Barkin

Review of That Dark Lake by Don Barkin Antrim House, $19

The misty mountains that grace the cover of Don Barkin’s That Dark Lake suggest what lies within this collection of poetry. It also bespeaks the atmosphere that pervades the sensibility of this New Haven poet. Barkin’s work is divided into four sections, each with its unique character, which at times creates a dissonance that can be either welcoming or off-putting by virtue of their congruity.

The energy that underwrites the collection, modified, as it were, by that darkness, is evident in poems like“Eighteen”:

In Springtime a young brook throws the whole mountain in an uproar.

It crashes through the rocks like a blind man in a hurry. Its froth leaps like a stallion’s spit in terror of the bridle.

Don’t get upset. Think of the day when you’ll smile a little sadly as the brook disappears in the sea’s grey suit.

At the age when in Western society, a child becomes an adult, Barkin captures the cusp of that transition through the liquid metaphors of “brook” and “froth” and “spit,” whose vigor dissipate into the grey stream of adulthood. In this respect, many of Barkin‘s poems bear the linguistic stamp of modernists like William Carlos Williams, who could capture and even subjugate readers’ hearts and minds with a few, simple words.

Sometimes Barkin constrains this rare prowess by letting stringent rhyme schemes tie down his lyrical, even chaste gems of insight. Fortunately this is not omnipresent, and many of the poems reflect the sincere, almost affable ambience, of That Dark Lake as a whole. The collection delves not just into human emotion but the everyday bustle of life. Experience serves as root and cause of all artistic experience in the world, that “lonely hour of the single light bulb,” as Barkin frames it. Consider such lines as

In the weight of the great trees on the lawn, In the timid, curving love Of the tree limbs on the bright grass, They can see that really Nothing ever goes anywhere

or

In middle age you smell the end The way you smell the snow …

Paradigms of innocence possibly lost suffuse Barkin’s voice. In the smallness of things lies the greatness of reality, of Being itself. And yet, the collection is domestically minded enough to grasp the solace offered--as this collections offers--mental creature comforts: a good book to pick up after a day of “rush[ing] off, then com[ing] back…walking in too fast” and listening to the “office women” gossip. It’s a book meant to slow you down, to remind you that “out there / water flows somewhere / and the quiet people rule.”