Reviewed 8/27/05
Imagine Arizona Theatre Company announcing that it planned to produced an all-nude lesbian version of Annie. The type of reaction you'd have for that should be similar to the announcement of Damon Dering's Nearly Naked Theatre putting Scott McPherson's Marvin's Room as the opening show on their schedule. After setting the bar of alternative theatre productions quite high, this season has started with a more conventional offering. Even more surprising, the Artistic Director of the Valley's other equally excellent alternative theatre company, Ron May of Stray Cat, has been tapped to helm this sentimental soaper. There's nothing wrong with giving the audience something without cursing and nudity, and this is a strong script, but it's just a bit surprising to have these two cutting edge producers involved in this project. The result is a production that is solid on almost all levels, but encounters a few problems that keep it from being a perfect collaboration.
Marvin's
Room is a tale of family with death always creeping around
the periphery. Marvin (William Parker) is the bedridden, mumbling
patriarch who is more of a presence than a character. He is being watched over
by Bessie (Lori Winzeler), the natural caretaker of the family
who is also taking care of her spinster Aunt Ruth (Barbara McGrath).
When Bessie herself becomes sick, she must depend on her estranged sister Lee
(Trish Galindo) and her two boys Hank (Adrian Villalpando)
and Charlie (Eric Zaklukiewicz),
one who's been institutionalized after burning down the block, the other a
traumatized youngster. While death is in the air, the play is more about life,
love, and choices.
May's direction is tight with a few nice flourishes, such as a crucial moment in the second act that turns a bit creepy. He draws strong performances from most of his actors, especially Galindo's frenzied Lee and a high-energy offering by Zaklukiewicz. While she seems a little too young for the role, Galindo does an excellent job of creating Lee's character arc from overwrought to understanding. McGrath is very funny as the scattered Ruth, playing up her lunacy while never going too far. Villalpando's Hank is modulated, bringing forth is character's pain and pushing away equally well. While it's hard to believe him as a doctor, Kenny Brodie gives a creepily funny performance. The problematic performance is at the center of the piece.
Bessie is crucial to the success of the piece, and Winzeler's offering is hesitant. She doesn't seem to be comfortable in Bessie's skin, is low in energy and does not connect strongly with the rest of her ensemble. This isn't a deal breaker, but it throws the balance of the production off toward the visitors.
Alicia Marie Turvin's set is best defined as utilitarian. It offers two levels and four playing spaces with the stage left side switching to multiple locations, but it isn't particularly inspired, with such problems as the screen window into Marvin's room not being as effective as it could have been. Randy Braunm's lighting has some nice moments, and Dering's costumes are well-considered. Benjamin Monrad's sound design includes some nice music and a few interesting effects.
Even with a weakness in the central performance, this is a very enjoyable production. Even without expanding the envelope, May and Nearly Naked prove to be able to create impressive theatre.
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