Tag: David Mamet

Otterbein world premiere is an actor’s delight

Benjamin Folts, Grace Hoover and Evan Moore-Coll (from left) share a scene in Otterbein Summer Theatre’s production of Invention of Theater (photo by Ed Syguda)
Benjamin Folts, Grace Hoover and Evan Moore-Coll (from left) share a scene in Otterbein Summer Theatre’s production of Invention of Theater (photo by Ed Syguda)

By Richard Ades

The four actors appearing in Invention of Theater appear to be having fun. As well they might. Sean Murphy’s world-premiere one-act lets them show off their chops in styles reminiscent of playwrights ranging from Shakespeare to David Mamet, Arthur Miller and Neil Simon.

As if that weren’t enough, the play has two cast members walk through a scene while stepping over and around imaginary furniture, then repeat the same scene at breakneck speed.

So Invention of Theater is fun for the actors, especially student actors eager to demonstrate their range. As for the audience, it offers knowing chuckles for those savvy enough to realize that when, say, Murphy places two sexist, macho men in an office environment, he’s spoofing Mamet.

More generally, it offers a lighthearted look at the nature and current state of theater, mixed in with some frankly silly jokes and puns. For example, the style of the Shakespearean segment is said to be inspired by the character named Elizabeth (Grace Hoover) and is thus labeled “Elizabethan.” Groan.

Working under Melissa Lusher’s direction, the cast throws itself whole-heartedly into Murphy’s spoofs, which are the most entertaining part of the show.

The action begins when Kevin (Benjamin Folts) and Elizabeth meet on a bare stage and announce that they love each other. Though Kevin seems sincere, the woman sees the declaration as simply the jumping-off place for a theatrical piece about two people’s search for romance.

As their piece becomes increasingly complex, they’re joined by Toby (Evan Moore-Coll), who plays Kevin’s rival. Completing the cast, a producer named Avery (Steven Meeker Jr.) emerges from the audience and offers to help them turn their play into a profitable product.

When Murphy isn’t spoofing theatrical icons or indulging in silly puns, he clearly aims to say something profound about theater and the artistic process in general.

For example, when Avery starts changing the others’ theatrical piece with an eye toward maximizing profits, Kevin complains that he’s subverting their creation. Kevin decides to go along only after admitting he’d prefer to make his living acting rather than remaining at his current job as a customer-service representative.

It’s the kind of compromise many young actors and other artistic types will find familiar. Then again, does it really compromise one’s integrity to do theater in the style of icons like Shakespeare, Miller and the others? Those guys were pretty good.

At the very end, Murphy does say something pretty profound about the nature and appeal of theater. Otherwise, he does better when he sticks to spoofing theater rather than trying to explain it.

Otterbein Summer Theatre will present Invention of Theater through June 25 in Cowan Hall, 30 S. Grove St., Westerville. Show times are 8 p.m. Thursday-Saturday, plus 2 p.m. Friday. Running time: 1 hour, 35 minutes. Tickets are $25. 614-823-1109 or www.otterbein.edu/drama.

Duck-centered talk is both funny and philosophical

Poster for the debut production of Geoff Nelson's new troupe, A Portable Theatre
Poster for The Duck Variations, starring Jonathan Putnam (seated) and Geoffrey Nelson (photo courtesy of A Portable Theatre)

By Richard Ades

After watching a local 2012 production of November, David Mamet’s clunky attempt at political satire, it was hard to get enthused over the prospect of seeing another Mamet comedy.

On the other hand, it was easy to get enthused over the prospect of seeing the debut of Geoffrey Nelson’s new touring troupe, A Portable Theatre. Especially since the production starred both Nelson and longtime cohort Jonathan Putnam.

The two CATCO alums have been doing theater together for more than 30 years, as Nelson noted on opening night, and it shows in the easy way they play off each other. Working under Nelson’s direction, they mine every bit of humor from Mamet’s two-person one-act, The Duck Variations.

The surprising bonus, for those who suffered through November, is that the one-act has quite of bit of humor to mine. Written in 1972, when Mamet was just closing in on the quarter-century mark, it’s basically a wide-ranging conversation between two strangers who meet in a park.

Politics, economics, friendship, pollution—these and more topics come up. But the conversation starts with and often returns to ducks, with which each of the men seems to identify in various ways. Being at an age when they’re aware of their own mortality, they particularly sympathize with the males who attain leadership roles only to be replaced by younger males when they’re felled by death.

It’s all a bit profound, and just a little sad. Mostly, though, it’s funny, thanks to the personality clashes that arise.

Emil (Nelson) is frankly lonely and is happy to find someone to talk to, but he can’t help being annoyed by his companion’s tendency to bloviate on subjects he obviously knows little about. George (Putnam), for his part, becomes both annoyed and defensive when his misstatements are questioned.

At one point, George goes so far as to insist that birds are the only animals capable of flight. Only later, after Emil drops the subject, is he willing to admit that insects also have been known to take wing.

In a talkback session after the opening-night performance, Nelson explained that the characters are meant to be in their 60s. That probably seemed ancient to the then-20-something playwright, who imbued them with several familiar characteristics of old age.

Being in his 60s himself, Nelson said, he actually thinks of the men as being in their 80s. However, neither actor makes an obvious effort to age his character. This subtle approach allows Emil and George to come across, not as stereotypical oldsters, but as individuals who are touchingly vulnerable and recognizably—and hilariously—human.

A Portable Theatre will present The Duck Variations through June 23. Show times are 8 p.m. Saturday and 2 p.m. Sunday at the BalletMet Performance Space, 322 Mount Vernon Ave.; and 8 p.m. Wednesday and 11 a.m. Thursday at Abbey Theater of Dublin, 5600 Post Road. Running time: 50 minutes. Tickets are $20, $10 students ($15/$10 students at Thursday matinee). Aportabletheatre.com.