FESTIVAL WATCHING
Spotlight-On Winter into Spring Festival - 2003 - by Louis Lopardi
(Careful, he might hear you . . . )
by Edward Einhorn
Rather than simply retell the legend of the Golem, Edward Einhorn has skillfully woven the original into yet a new cautionary tale; In sum: our words are more powerful than we imagine.
Aaron J. Mason's rich and textured lighting design defied the meager instrumentation and facilities, aided by a simple and evocative set by Nicole Frankel. Gloria Sims Bowen directed with a feel for the historical material and ambiance, but gave the play's abundant built-in humor a decidedly contemporary feel. Only one defect: a self-conscious freeze-frame effect was used for the fade out of every one of the many scenes. At first haunting, it quickly became trite, then even annoying after short, not so profound, scenes. Michael Piatkowski made intelligent and creative costuming choices, showing what could be accomplished within a showcase budget.
Ian Fleet was the patriarchal (if rather WASP-ish) rabbi, Hanna Hayes played the maternal storyteller with relish, and Brian Glaser created a convincing character of the alternatingly frightening and funny Golem. I could see this particular Golem becoming a stand-up character in some future comedy review by the talented Mr. Glaser.
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Malcolm Gordon is a living legend - a throwback to the golden age when vaudeville meant theatre, i.e., entertaining and uplifting. If his vocal range is not what it used to be, and support sometimes falters in his pursuit of a high-lying character voice, we forgive unequivocally because we are so caught up in his magic web. Mr. Gordon quickly captures and charms his audience, confirmed by the fact that the audience at this matinee actually grew for part two as passers-by were lured in by the merriment.
In an evening, he takes us through a century of artless simple songs, coloristic genre and patter songs, and some artful dodging in the guise of hilarious period folk poetry. His faultless ear for dialects brings us on a journey through London's East and West Ends, North Country, Oxford, and more class levels than layers in a Dobosch Torte. He is a very physical artist, whose taut, quick movements personify the wit present in many of the songs.
Pianist Robert Rogers supported Mr. Gordon with artistry, flair, and always consummate taste. Playing always with nuance and period style, he transported us from working class pubs to the music hall, to the drawing rooms of Ivor Novello.
The Monte-Pythonesque set by Jim Stewart was a pastiche of theatrical facades, evoked with both broad flourish and loving attention to suggestions of period detail - right down to (functional!) Venus-shell footlights