Hardly Trivial, But Short of Divine ...
Ambitious production splices works of Thornton Wilder with intriguing results
By Eric Shapiro - Skidmore News 3/11/2010
"Thornton Wilder: The Trivial and the Divine," opens in a manner far more in line with the latter adjective in its title, as a young boy-poet is confronted with nothing less than the lighter and darker elements of human nature.
One could not be blamed for feeling as if he or she has been dropped into the climactic scene of some obscure Greek drama; you know, the one where the hero finds out his destiny from a prophet with an overly dramatic voice. His life, in the words of two mysterious women clad in devilish attire, will be both a blessing and a curse. The same can be said of this production and its odd format.
"The Trivial and the Divine" splices together six of Thornton Wilder's short plays over the course of an hour-and-a-half production. Meredith Hackman '10 and Katherine Sommer '10 deserve to be commended for attempting such an ambitious approach. Sampling a diverse array of Thornton Wilder's dramatic dishes side by side - from theological "reenactments" to lighthearted family moments - sheds new light on each one.
Roughly half of the plays incorporated into the production revolve around the Bayard family, a decidedly ordinary bunch hailing from Newark, New Jersey, which consists of a raging, pious southern momma, a stoic husband of few words, a bratty daughter and an insecure, momma's boy son. It soon becomes apparent that they are preparing to embark on a family road trip to visit their daughter and sister Beulah, who's been married off to some generic rich guy.
It would be disingenuous to say that any of the aforementioned characters, with the possible exception of the mother, reveal any significant level of depth. But, psychological complexity is hardly the name of the game here.
Rather, the production is intended as a juxtaposition of the trivial and divine. It seems gimmicky at first, with ostensibly "serious" material interspersed with mindless comedy to keep the audience hooked. However, there is in fact very little in Thornton Wilder's ouvre that is actually trivial.
No, the seemingly mundane comedic interactions between family members are the backbone of the production and are just as meaningful as its more cerebral faire. Every moment, be it fantastic or ordinary, is loaded with meaning.
The Virgin Mary's journey with baby Jesus atop a donkey is no more inherently important than a family's Christmas Day toast. Hackman and Sommer's "anthology" format is highly effective in getting this point across.
It is not, on the other hand, always clear. Man a sudden transition from one play to the other, at times before the preceding one has ended, can be disconcerting. If audience members aren't familiar with their premise walking into the theater, they may well spend a considerable portion of the production trying to figure out just what in Hepzibah's name is going on.
Fortunately, a highly innovative set design, effective staging and superb lighting help to elucidate a plot prone to shifting gears on a moment's notice.
The action is on two stages with the audience on either side. Each stage has a building on it, in one case a house and in the other a tower. As those familiar with JKB's Black Box Theater will no doubt tell you, the atmosphere is intimate.
Cast members work their way between the aisles, some of the more substantial costumes actually brushing against the audience.
The set design works well within the small space, implying a much larger world off-stage. Frequently, a character will peak his head through a window or dart out of a door like Kramer hopped up on Red Bull. All of this makes for some great bouts of comedy, a distinguishing feature of Wilder's work that helps his philosophic musings go down easy.
The acting is solid across the board, with standout performances by Kimberly Brown '10, a true talent who lights up the stage. She certainly does one of the best renditions of a donkey that this critic has ever seen. Christopher Jacobson '10, also a stage manager, makes a great cameo as a southern woman, providing one of the funniest moments of the production.
Nicole Dancel '13 and Hannah Tamminen '10 are suitably sinister as the Woman in Red and the Woman in Chlamys respectively, even if it isn't entirely clear who either character is supposed to be. Manifestations of evil? Dark prophets? Contenders in this year's edition of the Fire & Brimstone Fashion Show?
Most impressive of all, with the possible exception of the donkey, is Marie Claire Roussel '10, who exudes sassy Southern authority as Lucia Bayard, the kind of mother who you might see slapping her kid at Walmart and offering a hysterical apology a few minutes later.
Capable acting and an intriguing concept made "Thornton Wilder: The Trivial and the Divine" well worth seeing. The production occasionally staggered under the weight of its ambition, but it is a testament to the talent of all those involved that it was engaging and affecting nonetheless.
By Eric Shapiro - Skidmore News 3/11/2010
"Thornton Wilder: The Trivial and the Divine," opens in a manner far more in line with the latter adjective in its title, as a young boy-poet is confronted with nothing less than the lighter and darker elements of human nature.
One could not be blamed for feeling as if he or she has been dropped into the climactic scene of some obscure Greek drama; you know, the one where the hero finds out his destiny from a prophet with an overly dramatic voice. His life, in the words of two mysterious women clad in devilish attire, will be both a blessing and a curse. The same can be said of this production and its odd format.
"The Trivial and the Divine" splices together six of Thornton Wilder's short plays over the course of an hour-and-a-half production. Meredith Hackman '10 and Katherine Sommer '10 deserve to be commended for attempting such an ambitious approach. Sampling a diverse array of Thornton Wilder's dramatic dishes side by side - from theological "reenactments" to lighthearted family moments - sheds new light on each one.
Roughly half of the plays incorporated into the production revolve around the Bayard family, a decidedly ordinary bunch hailing from Newark, New Jersey, which consists of a raging, pious southern momma, a stoic husband of few words, a bratty daughter and an insecure, momma's boy son. It soon becomes apparent that they are preparing to embark on a family road trip to visit their daughter and sister Beulah, who's been married off to some generic rich guy.
It would be disingenuous to say that any of the aforementioned characters, with the possible exception of the mother, reveal any significant level of depth. But, psychological complexity is hardly the name of the game here.
Rather, the production is intended as a juxtaposition of the trivial and divine. It seems gimmicky at first, with ostensibly "serious" material interspersed with mindless comedy to keep the audience hooked. However, there is in fact very little in Thornton Wilder's ouvre that is actually trivial.
No, the seemingly mundane comedic interactions between family members are the backbone of the production and are just as meaningful as its more cerebral faire. Every moment, be it fantastic or ordinary, is loaded with meaning.
The Virgin Mary's journey with baby Jesus atop a donkey is no more inherently important than a family's Christmas Day toast. Hackman and Sommer's "anthology" format is highly effective in getting this point across.
It is not, on the other hand, always clear. Man a sudden transition from one play to the other, at times before the preceding one has ended, can be disconcerting. If audience members aren't familiar with their premise walking into the theater, they may well spend a considerable portion of the production trying to figure out just what in Hepzibah's name is going on.
Fortunately, a highly innovative set design, effective staging and superb lighting help to elucidate a plot prone to shifting gears on a moment's notice.
The action is on two stages with the audience on either side. Each stage has a building on it, in one case a house and in the other a tower. As those familiar with JKB's Black Box Theater will no doubt tell you, the atmosphere is intimate.
Cast members work their way between the aisles, some of the more substantial costumes actually brushing against the audience.
The set design works well within the small space, implying a much larger world off-stage. Frequently, a character will peak his head through a window or dart out of a door like Kramer hopped up on Red Bull. All of this makes for some great bouts of comedy, a distinguishing feature of Wilder's work that helps his philosophic musings go down easy.
The acting is solid across the board, with standout performances by Kimberly Brown '10, a true talent who lights up the stage. She certainly does one of the best renditions of a donkey that this critic has ever seen. Christopher Jacobson '10, also a stage manager, makes a great cameo as a southern woman, providing one of the funniest moments of the production.
Nicole Dancel '13 and Hannah Tamminen '10 are suitably sinister as the Woman in Red and the Woman in Chlamys respectively, even if it isn't entirely clear who either character is supposed to be. Manifestations of evil? Dark prophets? Contenders in this year's edition of the Fire & Brimstone Fashion Show?
Most impressive of all, with the possible exception of the donkey, is Marie Claire Roussel '10, who exudes sassy Southern authority as Lucia Bayard, the kind of mother who you might see slapping her kid at Walmart and offering a hysterical apology a few minutes later.
Capable acting and an intriguing concept made "Thornton Wilder: The Trivial and the Divine" well worth seeing. The production occasionally staggered under the weight of its ambition, but it is a testament to the talent of all those involved that it was engaging and affecting nonetheless.