Theater Reviews: 2 Pianos 4 Hands, Coming Home, Cirque Berzerk

Also, Godspell, The Wasps and more

Comments (0) By L.A. Weekly Theater Critics Tuesday, Jun 23 2009

CABARET The economy is terrible; unemployment is rising; sex and promiscuity abound; traditions are constantly broken, creating backlash from social conservatives — of course, it’s Germany in the early 1930s. Against the backdrop of the Weimar Republic, Kander and Ebb’s 1966 classic musical follows American novelist Clifford Bradshaw (Michael Bernardi) through his affair with English singer Sally Bowles (Kalinda Gray), whom he meets in Berlin at the Kit Kat Klub as the Nazis are taking over. At the top of the show, the iconic “Willkommen” introduces the club and its dancers — the Kit Kat Girls and Boys — as well as the Emcee (Eduardo Enrikez), whose outrageous persona is a dead ringer for Joel Grey’s 1972 Oscar-winning performance in Bob Fosse’s movie. When not at the cabaret, Cliff stays in a boarding house run by Fraulein Schneider (Annalisa Erickson), who has a soft corner for local fruit vendor Herr Shultz (Jayson Kraid) and constantly battles with tenant Fraulein Kost (Josie Yount) over the stream of sailors who flow through Kost’s bedroom in order to help “pay the rent.” Cliff, on the other hand, pays the rent by giving English lessons. Director Judy Norton’s use of table seating and a working bar completes the cabaret ambiance, but her transitions drag and she fails to bring out the je ne sais quoi — or perhaps ich weiss nicht — that would have made the brilliant source material leap off the stage. Even Greg Hakke’s musical direction is sluggish at times and Derrick McDaniel’s lighting leaves many dark spots onstage. The performances, unlike the German accents, are solid, but only Enrikez really stands out. The MET Theater; 1089 N. Oxford Ave., Hollywood; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through August 9. (323) 965-9996 or www.plays411.com/cabaret. (Mayank Keshaviah)

Michael Lamont

2 PIANOS 4 HANDS

Andrew Young

Cabaret the Musical

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GO CIRQUE BERZERK A dreadlocked ringmaster tells a misfit girl to flee the land of the corporate zombies, where businessmen in masks and suits sprawl half-dead before tombstones made of suitcases. And she does, committing suicide to descend from the ceiling of the venue’s big-top tent to the underworld circus of the fully dead, whose acts include suicides by hanging themselves from trapezes and a drowned sailor and his wife contorting through a boneless, weightless sexual dance. Later, a troupe of dead brothers makes brilliant use of a trampoline and an oversized photo frame, and a phalanx of hellish Liza Minnellis re-enacts “Cabaret” with flaming chairs. The creative team of Suzanne Bernel, Kevin Bourque and Neal Everett puts on quite a show. The 26 performers and seven-piece band are fantastic — and fantastically served by the costumes of Heather Goodman and Mary Anne Parker, who have the bravado to make an outfit out of an Elizabethan collar, feathers, a bikini top and knee socks. (The production was born at Burning Man.) And because the stage rotates, there’s not a bad seat in the house, even out in this ex–corn field east of Chinatown. Los Angeles State Historic Park, 1245 N. Spring St., Chinatown; Thurs., 8:30 p.m.; Fri.-Sat., 7 & 10 p.m.; Sun., 5 & 8 p.m.; through July 5. www.cirqueberzerk.com. (Amy Nicholson)

THEATER PICK COMING HOME A sequel to his 1995 postapartheid play, Valley Song, Athol Fugard’s latest work, Coming Home, tells of the decimation of one person’s dream and the recasting of hope from its ashes. The luminous Deidrie Henry portrays Veronica, a once-aspiring singer who returns to her rural childhood home, child in hand, after 10 bitterly disappointing and difficult years in Cape Town. Resilient and nurturing despite her anguish, Veronica has a single-minded purpose: to establish a home for her son Mannetjie (Timothy Taylor and then by Matthew Elam as he ages), who will need support and protection in the event of her demise from AIDS. With her beloved grandfather, her only relative, dead, she turns for help to her childhood friend Alfred (Thomas Silcott), a sweet, slow-minded man who has always loved her dearly but whom her son despises. Spanning five years, the story depicts Veronica’s transformation from a buoyant woman to a sick but seething, determined molder of her son’s future to, finally, a bedridden invalid, yet with enough energy to foster her boy’s burgeoning ambition to write. Part of Fugard’s ongoing reflection of his native country’s woes, the play contains sometimes burdensome exposition, which is offset by its masterfully drawn characters and deeply embedded humor. Under Stephen Sachs’ direction, Henry shines, while Silcott is equally outstanding. As Mannetjie, whom we watch evolving into manhood, Taylor and especially Elam both impress; Adolphus Ward skillfully fashions the ghost of Veronica’s grandfather. Fountain Theatre, 5060 Fountain Ave., L.A.; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; thru Aug. 29. (No perf July 4.) (323) 663-1525. (Deborah Klugman)

GO GODSPELL This 1971 musical, conceived by John-Michael Tebelak, with music and lyrics by Steven Schwartz, is a sort of anti-Hair. That 1967 show utilized a colorful tribe of hippies to mount a protest against the Vietnam War and challenge the status quo. Godspell took a similar tribe, sanitized and deradicalized it, and put it to work in the service of the Gospel of Saint Matthew. In Act 1, the preachiness is held at bay by solid songs and unbuttoned comedy, and Christianity is given a feel-good New Age spin. Act 2 is more sober, going past the parables, to Christ’s crucifixion. In this production, director Chuck McCollum and choreographer Allison Bibicoff have brought to the show ready wit and clever detail, and have cast it with a crew of wonderfully able, infectiously enthusiastic performers. Sterling Sulieman is a strong, forthright Jesus, with Rene Guerrero doubling as John the Baptist and Judas. Jenny Weaver delivers a potent “Day by Day,” Maria Lee gives a vampish turn to “Turn Back, O Man,” and Jason B. Hightower keeps the comedy coming. The fine ensemble includes Zach Bandler, Talo Silveyra, Cloie Wyatt Taylor, Kelly Boczek and Tracy Thomas. Conductor Jan Roper provides solid orchestrations/musical direction, and John Paul de Leonardis has designed the handsome set. Knightsbridge Theatre, 1944 Riverside Drive, Silver Lake; Sat., 8 p.m.; Sun., 3 p.m.; through July 12. (323) 667-0955 or www.knightsbridgetheatre.com. (Neal Weaver)