Upcoming: The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Transit Theatre Troupe, St. Edward's University, April 27 - May 1

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The Transit Theatre Troupe presents …

THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS

By Paul Zindel

Directed by Jon Wayne Martin

April 27 – May 1

Wednesday - Saturday at 8:30 p.m., Sunday at 8 p.m.

Fondren Lawn (behind the Carriage House)

St. Edward’s University, 3001 South Congress Ave.(click for map)

Free admission, donations for SafePlace accepted

The Transit Theatre Troupe closes its 2010-11 season with Paul Zindel’s1964 lyrical drama THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON-MARIGOLDS, winner of the Pulitzer Prize for Drama, the New York Drama Critics Circle Award, and the Obie Award for Best American Play.

The old, unkempt place where Tillie (Lora Blackwell) lives is more like a madhouse than a home. Tillie's mother, Beatrice (Jennifer Scott), is bitter and cruel, yet desperate for her daughters' love. Her sister, Ruth (Lainey Murphy), suffers epileptic fits and sneaks cigarettes every chance she gets. In the midst of chaos, Tillie struggles to keep her focus and dreams of winning the science fair alive, even against her cat-boiling competition, Janice Vickery (Meredith Montgomery). This dynamic yet dysfunctional cast of characters is rounded off with Tiffany Rogers playing Nanny.

Read more at AustinLiveTheatre.com . . . .

Peer Gynt by Henrik Ibsen, Mary Moody Northern Theatre, St. Edward's University, February 12 - 21

You might get lost in the tidy space of St. Ed's Mary Moody Northern Theatre if you haven't done your homework before you get to the theatre. Peer Gynt is not your dependable old social realism from Ibsen. This story is a wild ride of fable, myth and allegory that takes you across the world and through an entire prankish life, written by a young dramatist who had escaped bleak Norway for the dazzling sunscapes of Italy.

The attractive printed program given to you has a full page on the august poet and translator Robert Bly, but no synopsis of the action, other than a list of the locales of the 34 scenes, ranging from "the farm" to Morocco to Cairo and back to the mountains of Norway. For more than that, see the ALT profile of the drama, "The Wild Striving of Peer Gynt," published here on February 8.

Peer Gynt, both the play and the character played by Jacob Trussell, moves at speed, between a canter and a gallop throughout.

Read more at AustinLiveTheatre.com . . . .

Profile: The Wild Striving of Peer Gynt, Mary Moody Northern Theatre, St. Edward's University, February 11 - 21

Peer Gynt is one of those great, impossible works of literature. It's a masterwork of the Norwegian playwright Henrik Ibsen, one that is totally different from the new 19th century realistic dramas of social concern for which he became famous. This is the playwright who later gave us A Doll's House (1879), Ghosts, An Enemy of the People and Hedda Gabler.

Well before that, after a penurious career as a creative director and producer at Norwegian state theatres in Bergen and in Cristiana (Oslo), in 1864 while in his mid-thirties this self-taught artist left Norway with his wife and child for self-exile in sunny Italy. He continued to write. A five-act verse play Brand succeeded in Stockholm in 1866. The following year Ibsen had his five-act verse play Peer Gynt published in Copenhagen.

Almost ten years passed before the piece appeared on stage, in the Norwegian capital. And no wonder -- Ibsen himself wrote without a thought for the constraints of conventional staging, which he knew well. Peer Gynt is an exalted narrative of Peer's whole life, leaping in space and time. He seduces and runs off with the intended bride of a rival, then abandons her. Act II places the cheeky young Peer in a troll world, contemplating marriage to the daughter of the troll who rules the mountain (the scene for which composer Edvard Grieg wrote the comic but menacing incidental music "In The Hall of the Mountain King"). The action moves from upcountry Norway to Morocco to the Saharan wastes to a lunatic asylum in Egypt to a storm-wracked sailing ship and, finally, back to rural Norway. Upon his return Peer encounters his former neighbors, the devil in the shape of a parson, and the grim reaper in the guise of a button maker.

Because of the unrestrained length of the piece, a conventional static reading from a lectern would take more than six hours. In rhymed couplets. In Norwegian.

The first American production of this epic was in 1907. I had the good fortune to see a 1998 production by the Washington DC Shakespeare Theatre. In the early 1980's the Guthrie Theatre in Minneapolis did a five-hour version; in 2008 they again produced Peer Gynt, using a new stage-version translation by Minnesota poet Robert Bly, starring Shakespeare veteran Mark Rylance. Bly had the Minnesota Norwegian whimsy to mimic Ibsen by crafting about half of his text in rhyming verse, especially for comic scenes such as the dialogue in which the King of the Trolls seeks to convince Peer to stay in his kingdom. Bly cut and tailored the action so that the play ran about three hours.

St. Ed's assistant professor of theatre Ev Lunning, Jr., is using Bly's translation and has cut it further. He cast St. Ed's senior Jacob Trussell as Peer. You've had plenty of opportunities over the last couple of years to see Trussell. He was nominated for the B. Iden Payne awards each of the last two years for musical theatre leads in Sweeney Todd and Bat-Boy, The Musical. Last season at St. Ed's Mary Moody Northern Theatre he was in Cloud 9, Cyrano de Bergerac and Pajama Game. He appeared in The Fantasticks for Austin Playhouse and Leave It To Beverley for the DA! Theatre Collective.

Continuing its long tradition of casting Equity actors alongside its students, St. Ed's has Sheila Gordon in the key role of Peer's mother and Ben Wolfe in a variety of roles, including that of the big puppet-headed Troll King.

Peer Gynt is a remarkable work. Ibsen's source was a collection of Norwegian folktales with the opening legends of Peer's conquering a magic flying stag and striving against an unseen monster known as the Bøyg. Add to those Paul Bunyan exaggerations the fact that Peer's a bouncing, bounding braggart and flirt, obliged to abandon his true love Solveig because of his entanglements with the trolls. The story has elements of a Bildungsroman (a tale of growing up), a resemblance to the picaresque novel (a rascal's adventures), and withering portrayals of 19th century mercantilism and capitalism. Peer wants to become the Emperor of the World.

All in all, and throughout, Peer is on a search to find his Self: "One must be oneself; for oneself and one’s own/one must do one’s best, both in great and in small things./If the luck goes against you, at least you’ve the honour/of a life carried through in accordance with principle."

Yet for all his inventiveness and egotism he has no concept of that Self. In the Egyptian lunatic asylum, confronted by a desperate madman who imagines himself to be a Pen, Peer calls himself "a blank sheet of paper." In the fifth and final act as Peer is facing imminent death he peels an onion, imagining it to represent himself -- peeling away his many roles and adventures, eventually to find nothing in the middle. Because Death threatens to melt down Peer's soul with other imperfectly realized lives, Peer seeks frantically for some witness, any witness, to assert that his life was not entirely futile.

This is a huge, demanding text. Last Monday, the final full run through at the Mary Moody Northern Theatre before tech sessions ran smoothly and swiftly, giving promise of a dramatic, gripping evening of theatre. Jacob Trussell was self assured, emphatic and energetic in all of Peer's many permutations.

This is Peer's life story, from adolescence to near the grave, and Trussell's appearance and makeup will reflect that. The 2008 Guthrie version, according to the 48-year-old Mark Rylance while playing Peer, was a survey of Gynt's life retro and avant from the perspective of middle age. The St Ed's production, inevitably, because of the university setting and the predominantly young cast, will imply a young man's look forward into that feckless adventurer's life.

Trussell with his rough good looks and devotion to the thespian calling is mounting that legendary stag, about to ride forward into his future. Director Ev Lunning, Jr., both an academic and a seasoned member of Actor's Equity, represents for me a Peer who's somewhere along about the end of Act III in his own five-act Gyntian adventure. That combination, along with Gordon, Wolfe, Lainey Murphy as Peer's beloved but abandoned Solveig, Nathan Brockett and other talented company members, promises a full and challenging evening of classic theatre.

EXTRAS

American Theatre magazine interview of Mark Rylance about the Guthrie's 2008 Peer Gynt, Feb. 2008 (.pdf)

bobrauschenbergamerica, Mary Moody Northern Theatre at St Edward's University, September 17 - 27

Don't go looking for Robert Rauschenberg the 20th century modern artist in this grab bag. This is homage purely by reference.

Playwright/facilitator Charles Mee is frank in his admission that the piece is a collage of ideas and random bits that had as their starting points some of the images that appear in Rauschenberg's work.

Mee and others free associated about those images. They collected texts and images and other random bits to share in theatre workshops. Mee says that he told his collaborators, "Anyone can steal anything I brought in to make whatever piece they might want to make, and I could steal whatever they brought in."

He sifted through the material, workshopped it again, threw half of the results away and worked the rest up with the SITI Theatre in New York in 2001. We Austinites can think of that ensemble theatre company as the Rude Mechs of New York City.

Read more at AustinLiveTheatre.com . . . .