Arizona Theatre Company's Side Man at The Herberger Theatre Center
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 2/5/00
(out of )Two years ago, Warren Leight opened his semi-childhood remembrance of a big band Side Man and his deteriorating marriage. It was heralded as a great memory play that documents the fall of big bands as charted by a young man who views its decline to upstart rock and roll in relation to his parents' descent from wildness to madness. The play evokes a bygone era where musicians were as popular as ballplayers, living totally immersed in their music at the expense of their families and their sanity. As interesting as this play sounds when described, I found it couldn't hold my attention when I saw it on Broadway last year, despite the Tony Award, and the performances of Christian Slater and Edie Falco. I'm glad to report, though, that Arizona Theatre Company and director David Ira Goldstein have managed to bring this play to a higher level, even if some of the performances are lacking.
At the center of the play is Gene, a trumpeter whose view of life extends as far as the bell on his horn. His wife, the foul-mouthed and excitable Terry spins out of control from inattention. She recognizes that his bond with his horn and the trio of musicians with whom he shares his obsession will never allow her to enter. Charting this disintegration is narrator Clifford, their only son named for trumpet great Clifford Brown. He's a montage artist who attempts to put together the pieces of his broken family.
Mr. Goldstein recognizes the importance of all three characters that make up this fractured family in this production, using some great stage pictures that add layers of commentary on the harsh proceedings. Rather than allowing Liam Craig, who does a great job portraying Clifford, to stand to the side and watch, he incorporates him into the scenes prior to his birth, making all-the-more powerful references made by his parents to their as yet unborn child. He has also understood that this is a play that demands fluidity, setting up some wonderful pacing and never letting the audience grow bored of this reminiscence.
Mr. Craig moves easily between narrator, observer in the scene, and center of the play. He is successful changing quickly from thirty year-old commentator to ten year-old marriage counselor. He is genuine, choosing to let his words contain the irony rather than his attitude. As distant father, Gene, Joel Anderson does perfectly what his flawed character does best, existing while awaiting the next gig. As a role, Gene is not the kind of part that gives actors a lot of emotions to sink their teeth into, having to find a way to express their obsession through their pauses and distant looks, which Mr. Anderson does well. Susan Cella's nutsy Terry is not up to the level of her counterparts, lacking the frenzied air of the character and playing at, rather than existing in, her characters rage. It's sad to say, but most of her dangerous outbursts don't ring true.
The ensemble around this cacophonous trio play smoothly. Larry Paulsen, Kevin Ramsey, and Nicolas Glaeser are on top of their parts, and add lots of color to the production. Mr. Paulsen plays his character's speech impediment perfectly, never overplaying. Mr. Ramsey, returning after his impressive portrayal as Jester in this season's Play On!, ages credibly, from 1950's sharkskin and pompadour to 1980's cane and cap. While Mr. Glaeser does a great job during his character's hardest moment, one has to wonder how a heroine addict can retain such an obvious appetite. Finally, as everyone's girlfriend, Patsy, Terri McMahon does a good job of keeping up with the others, though never credibly ages as the rest of the cast does.
The visual elements of the show help to keep time and tempo ever present. Scott Weldin and Tracy Odishaw have visually brought across the subtle montage theme in their set and lighting. Mr. Weldin's unit set allows the show to flow while capturing night-life and home-life equally well, and Ms. Odishaw's lights are as fluid as the music offered by David Dansky's perfect and sometimes ingeniously spliced sound design. Dione H. Lebhar's costumes are evocative of time and place, from Terry's cutsey dresses to the baby blue tuxes the musicians are forced to wear as the big band era falls into a final tailspin.
The opening night crowd gave a standing "o" to this production, showing that despite the preponderance of "foul language" that drove several older couples from the theatre at intermission, ATC is on the right track in presenting risky theatre that challenges and steps beyond the safe boundaries set by most state theatres. Let's hope that Mr. Goldstein holds the course and expands the minds and tastes of his subscription base.
Production Details:
Side Man by Warren Leight
Arizona Theatre Company
The Herberger Theatre Center, Phoenix
(602) 252-8497
February 5th - 20th, 2000