Fine Chocolate
Equity Agreement (closed)
by Jay Michaels. . . August 2002
In the "hurry-up" world we have created for ourselves - including our entertainment - to be able to spend a summer night with a George Bernard Shaw play is like enjoying a sumptuous meal. When expert chefs like The Pulse Ensemble Theatre prepare this meal, it is a banquet.
With the background of a politically motivated battle coming to an amicable end, Shaw's comedy - filled with political and intellectual satire - tells the story of the regimented life of an upper class family further turned upside down by the appearance of Bluntschli, a soldier-for-hire from the apposing side who seeks refuge in the bedroom of the young and beautiful, but privileged family daughter, Raina - who is somewhat forcibly engaged to an officer of some standing. The officer - for all his professions of love - is infatuated with a serving girl, who is unofficially engaged to the family's faithful retainer, who wants nothing more than the peace that comes from owning a small shop in town. And so goes this maypole of plots and ideologies.
As Raina, Nalina Mann possessed all the necessary grace to bring the role to life. Her poise and diction set the tone for our understanding of the occupants of this household and what was to ensue in just minutes. As her mother, Catherine, Maria Dering played the role with flair. She had the difficult task of taking on a role that seemed there primarily for the conveyance of explosion and straight-lines. While a stronger presence may have filled the stage further, Ms. Dering proved a worthy sounding board to the high-energy players around her.
On the topic of high energy, Jeremy Hall as Bluntschli was superb. From his first entrance (bounding from the roof of the theatre), he had no trouble setting the play's pace in motion. Combining the physical presence of an old movie swashbuckler, with the delivery and energy of a teenager watching said swashbuckler, Hall made we - the audience - to believe he was a soldier of fortune, politically astute but unaffiliated... with a taste for sweets. A perfect subliminal touch (thank you, Mr. Shaw) for his immediate affection for the equally sweet and lithe Raina. Hall never lost any of these equalities throughout his association with a very colorful group of characters for the entire two hours. On the contrary, his command of character was always a highpoint
And a colorful group they were. David Arthur Bachrach as the pompous Petkoff played the privileged officer and gentlemen to the hilt. His "grand actor" delivery and brilliant ability at stage pictures made each moment a delight, and almost a guilty pleasure at seeing what a fine classical character actor is supposed to be. Francesca Marrone as the spicy servant, Louka, placed her disconnected domestic on that fine line between servile and subversive, always putting us at the edge of our seats awaiting the inevitable outbursts which appeared with great joy and appropriate commentary, not unlike a memorable solo in a fine musical. Admittedly, it took her a scene or so to get cranking with her larger gestures seeming a bit forced in the opening scenes. She, however, built into a fine foil for her not-so-secret lover, the equally larger than life, Sergius as played with comedic flair by Walter Brandes. Brandes was a perfect counterpoint to Hall. His was a privileged swashbuckler with grand gestures and over the top delivery. Brandes made us believe this was a child playing dress-up. A worthy statement for Shaw's character as well as complementing Hall's reality. There were moments however when his movements went just a bit too far. When combining this with the styles of Marrone and Bachrach, one might wonder if the director was moving the play as an old-fashioned farce or in a more realistic style.
Finally, there was Steve Abbruscato as the levelheaded Nicola, a tenured servant of the household, whose only ambition is that of a small shop in town where he might serve the entire community not just one household. Abbruscato has a marvelous deadpan presence, delivering even the most throwaway of lines with perfection. Effortlessly, he proves to be the wisest of the entire household and easily the most benevolent. This is pointed out to us in a well-staged scene ending in praise from Bluntschli - one can almost hear a sigh of relief from the audience as if we have been permitted to praise this peripheral character. Abbruscato was most enjoyable in last season's Twelfth Night and equally pleasing in Arms. Lee Whittenberg's bearded and bumbling officer whose entrance and exit occur with the first 10 minutes of the piece provided a humorous set-up for this game of war.
Director Anthony Patton utilized the fascinating Pulse outdoor space beautifully, creating fine stage pictures and breezy exits and entrances around the doors and stairs of this quaint set-up. As mentioned, there were moments when I was not sure of what style the play was to take - broad farce or more natural - but it did not hinder the fine performances or even the pacing. Alexa Kelly managed to work absolute miracles with a truly sparse amount of lighting instruments, creating atmosphere and illumination amid the last shards of daylight and that multileveled stage area. Her color scheme for the set complemented Terry Leong's excellent period costumes and Brian Richardson's music and sound effects.
The night I attended there was a large amount of background noise from the street just over the theatre's fence. It became a parable for how Pulse manages to conquer the elements to bring great stage work to an appreciative audience, as it vanished quickly as the talented ensemble whisked us into this great work of theatre.
Fine chocolate is indeed a cure for our troubles
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