Voices of a Silent Stage
After an absurd week, Cal Poly Humboldt’s production of Voices of a Silent Stage is food for a tired soul. The dichotomy of the entire piece creates the perfect balance of levity and depth, joy and mourning. It is a show where empty space feels full, so much is said in silence, laughter is born from melancholy and sadness begets satisfaction. The show, mounted at the Van Duzer Theatre, is an original collection of short, original pieces that commence after a cue card names the scene and sets the tone. Titles including “In the Park,” “Drowning,” “The Walk” and “Food Fantasies” develop like origami for the audience: Actors’ physicality create beautiful angles and shapes that pop into familiarity and understanding then resolve (often) with an audible “mmm” from audience.
Director Michael Thomas expertly guides his focused cast while examining the question of “What is Physical Theatre?” Those familiar with Dell Arte’s work will see some of its explorations in the pieces but Thomas uses a broader brush to paint the pictures. Some pieces are reminiscent of silent movies, others are dance-like and absurd with slow-motion violence, and a few are like people watching (or spying) from a distance; all are poignant. The myriad techniques and approaches make it difficult to pinpoint specific actors as much of the production relies heavily on the entirety of the company. Interestingly, the exploration itself adds texture and creates cohesion; everyone’s quality of movement is just different enough to make a set.
Thomas’ vast knowledge of theater illusions undoubtedly guides his cast to succinctly express their stories. Small things like long distance walks creatively done in place, passages of time done with a simple turn and slapping of the stage to mimic sizzling bacon are brilliant classic techniques reimagined. It is also unforced and relaxed as the production takes it time (sometimes too much) to develop. Though I am usually a stickler for pace and transition, the silence in lag time often serves as a palate cleanser between scenes, while others make one wonder if the light board short-circuited. Still, it never pulls the house out of interest or forces us to re-center from impatience.
Michael Johnson’s lighting design is sublime, save for the “Metamorphosis” piece that is gorgeous but needs more dynamics to match the title and theme. Robert Pickering’s scenic design is simple and an outstanding example of less being more. His use of the fly system creates magic with just enough change in scenery to refresh the stage while maintaining the bareness and depth of stage that is so effective in this piece. Likewise for Rae Robison’s costumes and hair/make-up design. The costumes are everyday, every-person attire that still expresses a story with smudges and soiling earned through living a good life. I might have been OK without the full-body spandex suits with hoods but they were appropriate in the piece. I may have also gone with half-sole modern sandals instead of ballet shoes to ease some of the creaks in the stage that pierce the silence in sensitive moments — it is hard to find anything to criticize in any of Robison’s fantastic designs.
This production is the perfect model of exceptional designers leading a wonderful and spirited young cast with an experience that provides support and calm in the expertise of their work. It is also refreshing to enter a space where everyone just shuts the hell up to experience something beautiful amidst a very loud world. Seriously. Take a breath and go see it.
Performances of Voices of a Silent Stage continue through Nov. 17 at the Van Duzer Theatre, with shows Fridays and Saturdays at 7:30 p.m., and Sundays at 2 p.m. Visit tickets.humboldt.edu.
Vanya and Sonya and Masha and Spike
One thing I love about Ruthi Engleke’s directing is her take on familiar characters and the use of those ideas to guide an actor’s exploration. I often see exceptional actors working with her to deliver surprising performances that alter my initial ideas of their character, and challenge them toward beautiful and unexpected results. At least that’s my assumption, having never witnessed the process. It’s akin to seeing familiar actors deliver refreshing new characters under the direction of Tim Burton and assuming he’s the source of their brilliance. Whatever the truth, there is something special about her storytelling. Exit Theatre’s new play Vanya and Sonya and Masha and Spike is no exception.
Powerhouse actors Daniel Baer (Vanya), Heather Petersteiner (Masha), Christine Aguello (Cassandra) and Amelia Resendez (Nina) join relatively newcomers Doranna Benker-Gilkey (Sonia) and Bryce Compos (Spike) to tell the story of people moving forward in their lives while balancing careers (or lack thereof), aging, romances, relationships, dreams, material possessions and past family traumas. Siblings Sonia and Vanya share their childhood home, which is attended to by their “psychic” homemaker Cassandra. Now it’s owned by their sister Masha, an actress famous(ish) for a slasher film and its five sequels, who decides to visit with her attention whore, 20-something lover Spike to attend a neighbor’s costume party. Spike meets sweet, local aspiring actress and Masha fan Nina, while “swimming” in the family pond. To the chagrin of Masha, Nina is included in their plans.
Aguello could have easily used occultist troupes successfully, Compos could have played chauvinist and toxic. Resendez could have played dim witted and opportunist, Baer could have leaned internally homophobic, Benker-Gilkey angst ridden and Petersteiner narcissistically abusive. All choices could have been successful, supported and easily performed well. Instead, their characters are layered and nuanced as they draw on depth, with the emphasis on the characters’ experience as opposed to characters’ archetypes. It’s a much more challenging approach, yet fluid and entrancingly delicious in delivery. At times, it felt forced, particularly in the beginning with coffee being set and pulled multiple times to entice comedy and unneeded space created as a character amid the power dynamic retreats. However, as the actors settle in to simply tell the story, it is magical, hysterical and emotional, and will only get more dynamic in the remainder of the run.
Sometimes emphasis on character development robs from pace and rhythm of the piece (especially in comedy and more specifically playwright Christopher Durang’s work). The pacing of the piece (with a more than two-hour runtime) could be alleviated with enhancing its rhythm, but the delight in the characters and story is sufficient as is.
Lighting design by Mobius and Marina Gargarina, and Christina Augello’s set design work in tandem in Exit’s small space to create cohesion and beauty. Bravo to sound design by Tammy Rae Scott, who creates effects and balance so perfect it is inspiring (special thanks for the Nina Simone track before the second act opening). Whoever is responsible for Benker-Gilkey’s Dame Maggie Smith dress is incredible, as are the dwarf costumes. Though I wish Masha could be in a more magnificent color than black in the opening as it identifies her as a villain and disregards her nuances.
This show is important for this time and has something for everyone. Go see it.
EXIT Theatre’s production of Vanya and Sonia and Masha and Spike continues through Nov. 24, with performances Fridays and Saturdays at 7 p.m. and Sundays at 2 p.m. Visit theexit.org.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
COMING SOON
The Arcata Playhouse opens the pantry for Italian-Danish theater artist Gaia Mencagli’s Stories of Eggs and Flour at 7 p.m. on Nov. 14. Visit playhousearts.org.
At the 5th and D Street Theatre, The Game’s Afoot Nov. 15 through Dec. 8, with Sherlockian holiday mystery at the home of 1930s actor William Gillette. Visit ncrt.net.
Belly up to the bar for the authentically staged Logger Love Stories, running Nov. 17-21 at the Logger Bar. Visit loggerbar.com.
This article appears in Community Connection.