T H E AT E R
THE MUSIC AND
THE MIRROR
BY WILLIAM KENNEDY
THE IRISH
PROBLEM
Very Little Theatre comes
up historically short with
ambitious production of
Juno and the Paycock
Cottage Theatre delivers
a triple threat with strong
production of A Chorus Line
f you could peer into this critic’s embryonic soul, I sus-
pect you’d find A Chorus Line lyrics.
I wore grooves into my album of the original cast
recording as a kid, and heck, my supercool local public
elementary school put it on as a fabulous bootleg pro-
duction, minus the racier numbers, when I was in second
grade. Over the years, I’ve probably seen it 25 times, from
multiple national tours to Broadway.
In other words, I know this show.
And because it’s one of my favorites, I was a little skep-
tical about a community theater production. After all, Cho-
rus Line demands the “triple threat,” or performers who are
equally strong actors, singers and dancers.
But the show is about more than technique. It’s the story
— the backstory — of how people make their way into the
arts and into dance, and what it takes for them to persevere.
And here, director Lanny Mitchell delivers in Cottage
Theatre’s production of A Chorus Line.
Clocking in at two hours with no intermission, the piece
is emotionally strong, with believable characterization and
warm, relatable exchanges.
Mitchell humanizes Zach, the proverbially aloof direc-
tor, modernizing the 1975 Michael Bennett original.
Autumn Carter as Diana Morales shines with confi-
dence and a powerful voice. Ryan Dallimor, Joel Ibanez,
Stefhani Anderson and Kathryn Pearson provide laughs.
Nicole Garibay as Bebe milks every moment — a real
pleasure to watch — and Heidi Turnquist has fun as Val.
Jessica Rossi as Maggie impresses with her clear and
compelling sound.
As Paul, Kory Weimer brings depth and openness to
his character, nailing a tough monologue in the second act.
They say you can’t out-kitten kittens, but Marcee Long
as Sheila and Janet Rust as Cassie give it all they’ve got.
Cassie is an especially challenging role — one that calls
for top-of-your-game acting, singing and, most important-
ly, standout dancing. Rust’s strength is in her accessible
connection with the audience, a rapport that allows us to
look past technical flaws.
And we would be remiss if we didn’t point out the obvi-
ous: As much as he tries to tone it down, Rafael Batya as
Mike clearly dances circles around everyone. Still in high
school, Batya’s bio reflects his dedication to dance study.
It shows.
Mitchell’s choreography is lively and doable, and the
cast sells it throughout.
Under musical direction by Mark VanBeever, the live
band sounds tight and balanced. Costumes by Rhonda
Turnquist add vintage flair, and Amanda Ferguson’s
lighting supports shifts in mood and dynamic change.
— Rachael Carnes
I
THE CAST OF VLT’S
JUNO AND THE PAYCOCK
lthough I’m aware that conflicts of one kind
or another have rocked Ireland for centuries,
my knowledge of early 20th-century Irish
history is admittedly, and perhaps regretta-
bly, patchy, and I’m going to go ahead and
wager that, in 2016, it is for most people.
And this is a hindrance for Very Little Theatre’s
current production of Sean O’Casey’s Juno and the
Paycock, on now under the direction of Michael
Walker.
Textually, the play — set in 1922 and premiering
in 1924 — assumes the political context of the story
is front and center for its audience. And VLT’s pro-
duction, though earnest and well intentioned, misses
opportunities that do exist within the text of the play
to refresh or inform us. The Irish Free State was estab-
lished in 1922 under the Anglo-Irish treaty, ending the
three-year Irish War of Independence. This storyline
is effectively buried.
Without clarity on these reference points, the woe-
ful tragedy of the Boyle family lacks the impact it
could have or was meant to have by O’Casey — Irish
stereotypes set adrift without moorings.
The Boyles are achingly poor, thoroughly Irish in
their predilection for drink, song and religion, and
they are presented with salvation in the form of an
inheritance, only to have it snatched away on a tech-
nicality.
In the midst of the 2016 presidential election, the
plight of poor people (the 99 percent, if you will) is
A
on people’s minds, and many more chances are missed
to bring contemporary relevance to the show — the
choice between no work and work that will kill you,
politics that have abandoned you, misplaced and mis-
guided nationalism, and regular folks gunned down in
the street.
That could be Ireland 1922 or United States 2016.
I wanted to feel that.
Juno and the Paycock is ambitious for VLT for
many reasons, including the Irish accents. I’m uneasy
about any theatrical production, professional or not,
attempting to replicate any kind of accent. They’re
tough. The play also has a large, unwieldy cast, com-
plex politics and a dense text that hasn’t aged particu-
larly well for modern audiences.
VLT’s show is overall capable, admirable and often
entertaining. A highlight comes from Adrian Lawler
in the role of Johnny Boyle, an injured veteran of his
country’s ongoing conflict and suffering what we now
understand to be PTSD.
In the play program, Lawler explains that his an-
cestors fought in the skirmishes referenced in the play.
He himself immigrated to the United States in 2008
after Ireland’s economy crashed, and has never before
acted in a play. During the play my mother, who ac-
companied me, leaned over and whispered, “He seems
so real.” Indeed she was right.
Juno and the Paycock continues through Oct. 22 at Very Little Theatre; $15-
$19, tickets at thevlt.com or 541-344-7751.
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