weebelly.com

Ahhh, yes. Sunny childhood fuzzies. Went to see this yesterday at the Memorial Theatre in Mount Vernon, Ohio. My home town–well, one of them. Sorta like Grover’s Corners. Memorial Theatre was a part of my childhood landscape: from Ohio Miss pageants to early musicals and concerts. I was in Oliver at Memorial Theatre. Just walking in made me all tingly and I even got a bit misty with a certain reverence for theaters and realized that slowly, over time, a sort of religiosity has grown in me regarding them–and here was one from my youth. How fitting then that this was the very first theatrical experience for my little girl. Elizabeth, all of three years and eleven months, sat through three hours of The Wizard of Oz and was involved, attentive, even engrossed the whole time. As we left, me carrying her in my right arm, she looked me in the eye and said, "Daddy, that was a good video."

The performance was excellent. It truly was. It is easy to come down on community theater productions, and there were foibles in this one as in most, but I was quite honestly overcome by the community of it. The sheer magnitude of the thing: the cast (79 people and two dogs), the live orchestra, the tech crew, and the director, Bruce Jacklin, who made it all come together; it was impressive. The costumes and sets were magnificent (hats off to Susan Brown). And the tech was spectacular! There were flying monkeys, and a flying wicked witch of the west, and a floating Glinda the good witch (Carrie Crouch), and the tornado swirling everything, and much more. When I think on it, there is not a better performance that could have been picked for a little girl to see as her first show. So, in that regard, hats off to my mother, Susan Hayes, who picked it out.

And of course I was keenly aware and attentive to my little girl. For her reaction was at least as entertaining to me as the spectacle on the stage. And to this end, I’ll remark on the one event that impressed upon me the most–for the whole of it was a spectacle for her, and there were awe-filled moments and frightful moments and happy moments and moments were the sheer zen of the moment was filling her up. But for the frightful, the most terrifying moment was right at the beginning when Mrs Gulch (Marty Bell) comes to the farm to take Toto (Picard Swingle) from Dorothy (Shelby Gonzales). My daughter’s eyes and mouth turned into O’s and she looked at me as if I should go up on stage and do justice. When Gulch took that little dog… all around me in the audience I heard little people crying. The raw emotion of the event so impressed me that I myself began to tear up. It was an unexpectedly powerful moment that, as a playwright, I will not soon forget. Other moments that were of note included the battery of questions that little people shouted out time and again as they watched: "where did the house go?"; "where’s the wicked witch?" etc. That is, paying attention to what draws the eye, what gets attention.

The acting was great. Excellent performances were turned in by Hunk/Scarecrow (Aaron Moreland), Hickory/Tin Man (Mike Andrews), and Zeke/Lion (Matt Starr), as well as Professor Marvel/Oz (Chuck Ransom) and, of course, Mrs. Gulch/Wicked Witch. Some moments were uncannily close to the movie performances which, like it or not, was probably the yard stick that most people came in with–but they delivered.

I had a great time, and from the first act, through the intermission ice cream, right up to the return trip home, I know my daughter did too; and for me, that was the best part of it all.

Runs through July 12 in Mount Vernon, Ohio. If you’re close by, it is well worth the trip. For more information check out www.mtvarts.com or www.brucejacklin.com.

I think what I like best about this play (other than the two leading ladies) is the manner in which relationships are distilled to raw absurdity. Melanie Marnich regularly compresses time to generate hysterical representations–sort of like coal being squeezed to present a diamond, or pressing fruit to extract juice. You get the idea.

Two plates (as in tectonics) meet in Quake

Laurel Johnson is the big hit in this one (no surprise here) as That Woman: a hip-slappin’ hottie who can out-philosophize you, out fuck you, and then kill you when she’s wrung you out. Lucy (Erin Scerbak) is the naïve vixen screwing her way across the country looking for Mr. Goodbar, culminating in her own brutal run in with a predictably brutal grease-monkey (Tom Kondilas) who excels at playing casually aggressive male characters.

I’d like to say that this play did something for me, other than the scintillation occasioned by various physical antics—that and the very funny comedic moments from both Christian Prentice and Stuart Hoffman as the various Mr. Goodbar candidates adopted by Lucy in her travels. But it really didn’t.

I mean, don’t get me wrong, it was funny and there were some very good theatrical moments that Arthur Grothe managed very well (I especially liked getting a drill thrust toward my face—if you like that sort of thing sit in the front row, stage left). But Marnich’s piece was only good for breadth, not depth and it was never clear to me that Lucy’s ‘big love’ was anything more than an onanistic quest that barely did more than disregard all the Goodbars.

The most compelling moment is the late meeting between Lucy and That Woman, where That Woman poignantly reflects on what she sacrificed in settling down—a theme with which I have become all-too-familiar lately. It is the one moment of true, possible connection in the piece and one that Lucy rejects (does she reject her ‘big love?’). Unfortunately, I’m not entirely convinced that Lucy understands the choice, so its impact is undermined as she wanders into the Pacific in her blithering naivety.

Overall, I enjoyed the play, but mostly for its episodic nature and the fact that I love convergence and love seeing these people engaged in ‘play making.’