Reviewed 11/20/05
Damon Dering has replaced a set intensive show in Nearly Naked Theatre's season, Metamorphoses, with a costume-intensive piece in Paul Ridnick's time bending celebration of all things over the top, Valhalla. The play creates two characters who follow ultimately diverging plot lines in two wildly different places and times: Ludwig of Bavaria (Tim Shawver) in the 1880s and James Avery (Dion Johnson) of 1940s Texas. Both share equally flamboyant personalities and a belief that it is their job to make the world more beautiful. Ludwig sets out to make the world more beautiful by using his powers as king, and Avery does it by forcing people to see the truth inside their heart. Four actors (Patti Davis Suarez, Courtney Weir, Joseph Kremer, and David Weiss) shift between the two timelines, portraying the 17 characters that are affected by these two forceful personalities. This collection of NNT regulars combine as an ensemble that makes this extremely odd and eccentric play the kind of laugh-filled evening at which this company excels.
Shawver's Ludwig will eventually ascend the throne and become the mad King
of Bavaria famed for his extravagant castles and other architecture. He is
a dreamer in charge of a land littered with practical people. Similarly afflicted,
Avery is a crystal swan trapped in a pre-WWII dust bowl. Avery's conquest is
hunky Henry Lee, a seemingly straight guy in need of a queer eye to realize
his true feelings. Ludwig is drawn to opera to make his world beautiful, while
Avery pursues Henry Lee from locker rooms through wedding ceremonies right
into WWII.
For a guy looking at making his set design easier, Dering sure didn't make his life easier by tapping T.J. Weltzien to smash together the marble columns of Bavaria with the rustic wood planking of Texas. While it's no swimming pool, this set is still overwhelming, and a success at bringing together these two themes. Dering has directed this multiple character, quick costume change piece to plow forward through impossibilities and hilariously balanced situations. He uses his actors to create wonderful static images in his scenes and shifting them quickly into even more bizarre permutations. Dering is working in his comfort zone, and we are the beneficiaries.
He has pulled together NNT veterans for nearly flawless casting. Shawver is probably the best of a great bunch, imbuing his Ludwig with the kind of energetic madness that is infectious. Even as he is threatening to hijack the show, he knows when to connect with those onstage for powerfully emotional effects. Johnson's Avery is a little more precious, a tad too tart, but this is one man I'd trust with my life for comedic timing. Kremer has recently been called the valley's "Jimmy Stewart," but I doubt the tall stuttering man could handle as Kremer does the pressure of a nude scene and a character arc that requires tough decisions about sexual preference. Kremer is a Jimmy Stewart for the 21st century. This is the best performance I have seen from Weir, who is really blossoming into a sweet actress with a knack for comedy. She is at her best when she is playing the hunchbacked Princess Sophie. Suarez does a great job of differentiating all of her kooky characters, and stops the show on a dime as she pops into her final, completely nutty character. Weiss is quick on the uptake and a good emotional foil to Shawver in his role as Ludwig's caretaker Johannes Pfieffer.
It seems that some of the paraphernalia that adorns the set has gotten in the way of some of Nykol De Dreu's lighting instruments, causing a few dark spots on the stage, but overall the lighting is successful. Steven Bakos' sound design is well run and well chosen. Though it runs a tiny bit too long, Shawna Quain's choreography is very funny.
Nearly Naked does it again. Great belly laughs, great design element, great direction, and a great ensemble. Take a trip to Valhalla before the fat lady sings.
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