As a young playwriting student, my straight and narrow, rigidly structured, Aristotelian world was shattered into a myriad of kaleidoscopic shards upon a viewing of a highly experimental production of Peer Gynt. Through this amazing piece, I realized a world beyond text, beyond rising and falling action, and beyond linear expression. For the first time, I was exposed to true multimedia performance art, and my work would never be the same. Echoes of that seminal moment reverberated while watching the production of American Safari Actors Theatre of Phoenix and Margolis Brown Theatre Company are currently mounting. It's unfortunate that Phoenix seems unwilling to support more theatre like this. It's nice to toss away the familiar every once in awhile, and dive into pure abstraction of thought and theme.
Truth be told, there is a graspable theme and linear process at work in this production. Director Kari Margolis has captured moments of mid-to-late-20th century Middle America during a pilgrimage from middle class malaise to Disneyland and innocence. There maybe several exits off of the highway that brings everyman Arthur from nothingness to being, but its progression is steady and observable. Tony Brown is Arthur, who works at a mindless job and exists in a world of white noise. He wins a not-close-to-all-expense-paid-trip to Disneyland, and through a series of several highly conceptual and choreographed scenes, winds his way through tough times and fun until he rediscovers the basic joys of youth. As my companion, local theatre educator Susan Morrell remarked, "Imagine Blue Man Group with a moral." She called it.
Mr. Brown is a remarkable performer. His body moves through multiple repetitions reminiscent of the kind of rigors performers are put through in a Philip Glass opera. Ms. Margolis' movements are whimsical, eye-catching, and occasionally heartbreaking. Mr. Brown and his ensemble of Juliet Alden, Kym Longhi, Gregory G. Schott, Larry Grubbs, and Shana Targosz sweep the audience through drone-like offices, nightmarish airports and billboard-laden highways, and into the soul that has been neatly folded and tucked away inside Arthur. Everyone is precise, nearly to robotic. And Mr. Brown is the focal point, the gawky, limber-limbed protagonist with whom everyone in the audience should feel a kinship. All facets of the production, from performance to music to the design elements work together smoothly to sweep the audience into the world of the piece, and jolt them with the occasional surprise.
The use of ingenious and sharp projections designed by Mr. Brown and Ms. Margolis add layers of meaning and give rise to the moments of silliness and sullenness. Joe Stanley's scenic design is commendable, despite some opening night gaffes. Ms. Margolis' costumes are in tune with the offering. Paul A. Black's lighting is impressive, as is Tony Brown's sound design.
There will be those who will call this work pretentious. It relies heavily on themes about conformity and oppression by the mindless machine of our own creation that have been the basis for countless works. It is the genuine odd spin and earnestness with which this production is offered that steer me away from using the "p" word. I laughed my way through the piece, and it caught me off guard with the unexpected jab and sad comment. If you go with an open mind and wide eyes, I'm sure you'll feel as I do.
Production Details:
American Safari Conceived by
Kari Margolis and Tony Brown
Actors Theatre of Phoenix and Margolis Brown Theatre Company
The Herberger Theater Stage West, Phoenix (For a map to location, click this
link)
(602) 252-8497
January 26th - February 11th, 2001