THEATRE NEWS: Mo`olelo Announces 2013 Season

MO`OLELO ANNOUNCES 2013 SEASON

Award-winning theater company announces ninth season featuring A MOXIE co-production of Toni Morrison’s The Bluest Eye adapted by Lydia Diamond, Extraordinary Chambers by David Wiener, The Amish Project by Jessica Dickey

SAN DIEGO, CA (September 25, 2012)– Award Winning Mo`olelo Performing Arts Company is pleased to announce its 2013 season of three plays: The Bluest Eye adapted by Lydia Diamond, playwright of Stick Fly, from the novel by Nobel and Pulitzer Prize-winning author Toni Morrison in co-production with MOXIE Theatre; Extraordinary Chambers by David Wiener, winner of the LA drama critics circle Ted Schmitt Award and Seattle’s A Contemporary Theatre’s 2010 New Play Award, and The Amish Project by Jessica Dickey said by the New York Times to be “a remarkable piece of writing”.

This season marks Mo`olelo’s second three-play season and the beginning of Executive Artistic Director Seema Sueko’s 16 month in-depth mentorship with Molly Smith, Artistic Director of Arena Stage at the Mead Center for American Theater in Washington DC, thanks to her receiving the Theatre Communications Group’s (TCG) prestigious inaugural “Leadership U(niversity) One-On-One Grant, a $75,000 award. Jessica Bird, former San Diego REP Casting Director & Artistic Associate and local director, will serve as Interim General and Producing Manager during Sueko’s working sabbatical.

Mo`olelo’s 2013 Season will open with a Mo`olelo-MOXIE Theatre co-production of Lydia Diamond’s adaption of Toni Morrison’s novel The Bluest Eye (February 2-March 3, 2013), marking the first collaboration of two of San Diego’s top women-led theaters. The Bluest Eye tells the story of one year in the life of a young black girl in 1940s Ohio. Eleven-year-old Pecola Breedlove wants nothing more than to be loved by her family and schoolmates. Left to fend for herself, she blames her dark skin and prays for blue eyes, sure that love will follow. From the playwright of Mo`olelo's 2011 production of Stick Fly, The Bluest Eye paints a portrait of the legacy of racism on a young girl’s psyche.

The summer months will bring Executive Artistic Director Seema Sueko back to the west coast to direct David Weiner’s award-winning Extraordinary Chambers (June 6-30, 2013) starring Greg Watanabe from Mo`olelo’s Yellow Face and How I Got that Story casts. Extraordinary Chambers is the story of an American couple who travel to Cambodia for an innocent business trip, but become personally entangled with Khmer Rouge victims and survivors. The genocide, complicity, survival, and greed collide in this play that shines a light on the Cambodian experience and asks how far are we willing to go to survive?

The season will end with Jessica Dickey’s tale of forgiveness, The Amish Project (September 26- October 20, 2013), with the directorial debut of Jessica Bird, Mo`olelo’s Interim General & Producing Manager. The Amish Project is an extraordinary, fictional, one-woman play inspired by the 2006 Nickel Mines shooting in Pennsylvania. In the wake of a mass shooting in an Amish schoolhouse, the Amish community immediately reached out to the shooter’s family with compassion when others did not. The play explores the tightrope intersection of grief, rage, and forgiveness, and asks which path do you take?

“This is an exciting time at Mo`olelo,” shared Ms. Sueko. “As we step into the ninth year at Mo`olelo, we’re embarking on an exciting journey of growth, national recognition and anticipation for our 10th anniversary in 2014.”  “The plays selected for 2013 all possess a beautiful poetic quality, drawing us close as they expose the danger and beauty of humanity,” added Ms. Bird.

Tickets to Mo`olelo’s 2013 Season are currently available by subscription only. Subscription prices range from $45 - $90 and may be purchased online by visiting http://moolelo.net/2013-season/ or by calling 619-342-7395.
 

THEATRE REVIEW: "In the Wake" at San Diego REPertory Theatre

"Wake" Up, America!

Lisa Kron’s smart and stimulating Bush-era play is less about politics and more about our own myopic-mindedness

By Donnie Matsuda

It is hard to see things we cannot see.

But that’s the thing about blind spots, as Ellen, the energetic, obsessive-compulsive political activist at the center of Lisa Kron’s provocative play, In the Wake, reminds us. By their very definition, they are things we cannot see – other people can see our blind spots and we can see the blind spots in others – but sadly, we remain oblivious to those crucial details that lie just outside the bounds of our myopic minds. Perhaps the genius of Kron’s play is that with its blend of provocative dialogue and heady characters, it gets us thinking individually and collectively about those blind spots that exist in our own American lives – spots that keep us from fully seeing ourselves and realizing our full potential.

Aubrey Saverino as Ellen in San Diego REP's "In the Wake." Photo by Daren Scott.

Instead of instructing us or regaling us with some specific kind of polemic, Kron provides us with a case study of sorts in the central character of Ellen. A well-educated, exuberant, and opinionated freelance writer, Ellen has no doubts about anything in her life and remains steadfast in her staunchly liberal beliefs, as she passionately speaks out against the Supreme Court, the war in Iraq and the atrocities perpetuated by the administration of George W. Bush. She convinces herself that she is blessed with the perfect life: a boyfriend (they are not married) named Danny who dotes on her in his own aloof way, Danny’s sister Kayla and her wife (they are married) Laurie who live in the same apartment building and run in similar social (though not political) circles, and her good friend Judy, who along with mixed race niece, Tessa provide some stark wake up calls about the real America we live in.

As we follow Ellen’s life amid the political backdrop of 2000-2005 (presented throughout the play in video vignettes by projection designer Victoria Petrovich), including Bush’s 2001 inauguration, the fateful events of 9/11, declaration of the war in Iraq, Bush’s re-election, and the destruction that was Hurricane Katrina, we begin to sense the devastating effects of her own blind spot as her emotional affair with another woman and her unbending political tirades drive all her close friends farther and farther away. And in the grander scheme of things, Ellen becomes somewhat of a metaphor for an America that keeps pushing blindly forward without any sense of awareness of the destruction that lies in its wake. Yes, those blind spots can be tricky, but they are oh so important.

Fran Gercke as Danny. Photo by Daren Scott.

In the Wake had its world premiere in Los Angeles in March 2010 and went on to be staged at the Berkeley REP before opening Off-Broadway in the Fall of 2010. Now being presented in its regional premiere by the San Diego REPertory Theatre in a deeply affecting and simply sublime staging, In the Wake is one of the most remarkable and important modern American plays you will ever see. Admittedly, it is not perfect: there are a few too many winding diatribes by our talkative leading lady, there are too many scenes that try too hard and push the play’s long-ish two hour and 30 minute run time, and there isn’t a whole lot of genuine soul-searching at the end of the day. But, as a character driven piece, the writing is sharp and smart, the themes are utterly relevant, and the play serves up some food for thought in ways that are both fresh and delectable.

Stephanie Dunnam as Judy and Aubrey Saverino as Ellen. Photo by Daren Scott.

And San Diego REP boasts an all-star cast of some of the best actors in the region. San Diego-trained and New York-based actress Aubrey Saverino is simply stellar in the difficult role of Ellen. With a breezy exuberance and an unrelenting stamina, she fits so comfortably in the skin of a woman who is guileless in her staunch political and personal stances, yet she also credibly swings up to the character’s manically obsessive highs and down to the character’s deeply depressive lows. Local favorite Francis Gercke plays the lackadaisical Danny to perfection. His role is a tricky one, as there’s not a whole lot of substance written into the script for him, but Gercke nonetheless mines his one-liners for all they are worth and manages to come across as a likeable, if not truly loveable, character. Jo Anne Glover as lipstick lesbian Kayla and DeAnna Driscoll as her butch wife Laurie are outstanding in their finely tuned roles, as is Stephanie Dunnam as Judy, who gives a tour-de-force performance as she seamlessly transforms from devilishly deadpan observer to full-fledged, strongly-opinionated realist. Sixteen-year old Alexis Louise Young delivers a genuine, heartfelt performance as Judy’s Republican-leaning, not-so-gay-friendly niece Tessa. And last but certainly not least is the incomparable Karson St. John who wows with her earthy and deeply moving turn as Amy, Ellen’s secret lesbian lover.

Karson St. John as Amy and Aubrey Saverino as Ellen. Photo by Daren Scott.

And at the helm of it all is deft director Delicia Turner Sonnenberg. Sonnenberg is the master of extracting riveting and real performances from her actors and she paints her plays with bold, broad strokes before honing in on the delicate details of each of her well refined characters. The result is always stunning to witness and her fresh, vibrant vision here is what takes this production to another level. She is aided in bringing this edgy play to life by set designer Victoria Petrovich (whose sleek and sophisticated East Village Apartment set with its many rotating parts is pure genius) and costume designer Kate Stallons (whose contemporary creations are right on the mark).

Overall, In the Wake is more than just a liberal-leaning, feminist-themed story about one woman’s search for her blind spot. It is a thought-provoking piece of theatre that urges all of us to take a closer look at our lives and see what legacy we leave behind in our own individual wakes.

When we can finally see, we all might be a bit surprised at what we find.

Things to know before you go: In the Wake plays at San Diego REP’s Lyceum Space through March 4, 2012. Running time is 2 hours and 30 minutes with a 15 minute intermission. Performances are Thursdays, Fridays, and Saturdays at 8pm, and Sundays at 2pm. Performances are also scheduled on selected Saturdays at 2pm and selected Sundays, Tuesdays, and Wednesdays at 7pm. Ticket prices are $32-$51 with discounts available for groups, seniors, and military. For more information or to purchase tickets, call (619) 544-1000 or visit www.sdrep.org.

THEATRE REVIEW: "A Raisin in the Sun" at Moxie Theatre

A Ripe "Raisin"

Moxie Theatre’s powerful and poignant revival brings out the best in Hansberry’s revolutionary play

By Donnie Matsuda

In many ways, Lorraine Hansberry’s A Raisin in the Sun is a play ahead of its time.

With its beautifully nuanced and incredibly moving story, Raisin captivates with a lovingly detailed portrait of an African American family (the Youngers) as they struggle to make ends meet on the South Side of Chicago in the 1950s. With a commitment of spirit and some heartfelt humor, the play takes this small family dynamic and (thanks to the smart and sensitive writing of Hansberry) carves out some simply sublime characters that act and interact with each other in ways that are at times ordinary and at times awe-inspiring.

Even more than that, Raisin has the insight to rise above the quips and quibbles of a fractured family to provide some subtle social commentary and thematic timelessness that still resonates today. While the characters are utterly intriguing, it is the universality of the themes in Hansberry’s play - the shifting of values from one generation to the next, the emotional and financial strain that can alienate a husband and wife, the omnipresent tension of racism and classism, and the hope and devastation inherent in dreams deferred - that truly make it a pioneering piece of theatre.

The Younger Family in Moxie Theatre's "A Raisin in the Sun." (Top row): Yolanda Franklin and Mark Christopher Lawrence. (Bottom row): LaTahj Myers, Sylvia M'Lafi Thompson, and Kaja Dunn. Photo by Daren Scott.

A Raisin in the Sun was revolutionary in other ways, as well. When it premiered on Broadway in 1959, Hansberry became one of the youngest playwrights and the first African American playwright to be produced on Broadway. Not to mention the director of the production was the first African American director to have worked on the Great White Way. By being so ground-breaking, Hansberry’s play changed the face of American theatre forever and has endured as a classic period piece with a timeless appeal. Now being revived by Moxie Theatre with a committed, compelling cast and a dynamic director, the story of the Younger family is being told with a fresh and fully-realized staging.

Yolanda Franklin as Ruth Younger. Photo by Daren Scott.

The setting for the nearly three hour drama is a gritty, run-down Chicago apartment (a perfectly shabby yet snug set design by Sean Fanning) that is shared by the five members of the Younger family. We first meet the exasperated Ruth (a pert and pleasant Yolanda Franklin) as she tries to rouse her son, Travis (a no-nonsense LaTahj Myers) and her husband, Walter Lee (a dynamic Mark Christopher Lawrence) to get the family started on yet another grueling, mundane day. But today, there is reason to be hopeful, as the family’s matriarch Lena (a quietly arresting, tour-de-force turn by earthy Sylvia M’Lafi Thompson) is about to receive a check for $10,000 from the insurance company, following the death of her husband. This amount of money could be a game changer for any member of the Younger family: it could give Lena the chance to buy her dream home in the highly affluent (and exclusively white) community of Clybourne Park, it could give her son Walter Lee the chance to quit his dead end job and start his own liquor business, it could give her daughter-in-law Ruth the chance to raise her ever-expanding family in more dignified digs, or it could give her daughter Beneatha (a smart and sassy Kaja Dunn) the opportunity to go to medical school and become a doctor.

Sylvia M'Lafi Thompson and Mark Christopher Lawrence. Photo by Daren Scott.

These dreams may seem basic to some, but they are all that this family has going for them and it gives them both hope and heartbreak, which is gut-wrenching to watch. As each family member deals with expectation and disappointment in different ways, Hansberry’s brilliant blend of comedy and tragedy, united with its timeless themes, makes for a powerful evening of theatre.

The evening also includes some strong performances by a handful of supporting characters that come in and out of the Younger household. There is Beneatha’s Nigerian friend Asagai (a winning Laurence Brown) who gets her in touch with her African roots, an uptight and wealthy suitor (a suave Dail Desmond Richard) who turns out to be an arrogant bore, and a painfully uncomfortable member of the Clybourne Park “welcoming committee” (a flustered Kent Weingardt). When combined with the stellar performances of the five member Younger family, the triumphs and tragedies inherent in the play come to life in a way that is as palpable as it is affecting.

With this poignant production, it is easy to see why director Delicia Turner Sonnenberg is in such high demand these days. She, along with assistant directors Ashley McGuire ZeMans and Patrick Kelly, manages to mine Hansberry’s play for all its worth, presenting an authentic staging that showcases both the heart and pathos of the piece.

Laurence Brown and Kaja Dunn. Photo by Daren Scott.

With time, some classic stage works become dated period pieces forever stuck in an otherworldly era. Others, like A Raisin in the Sun, remain staples of the American literary cannon and seem to become more relevant as the years (and decades) pass by.

Moxie Theatre’s moving and masterful revival proves that now is a good time as any to revive an American theatre classic. With an arresting cast and universal themes, it is a story that is as timeless as it is timely.

Things to know before you go: A Raisin in the Sun plays at Moxie Theatre through March 4th, 2012. Running time is 2 hours and 40 minutes with a 15 minute intermission. Performances are Thursdays, Fridays, and Saturdays at 8pm, and Sundays at 2pm. For more information or to purchase tickets, call (858) 598-7620 or visit www.moxietheatre.com.