Ben Jonson’s The Alchemist Streaming At Red Bull Theater!

This has only about a week left to go…streaming information is here!

screen capture by Ed Heinzelman

Ben Jonson’s The Alchemist is set in a time of plagues…Jacobean plagues…and the root story is cons conning the cons while the elite chill in the country. Now, I have not read Jonson’s original, but I think that I am safe in saying that Jeffrey Hatcher’s adaptation strays from Jonson because it is so damn pertinent to our current pandemic! And I doubt that Jonson’s audience would have gathered in all of the current plays nuances either. But I can’t say enough about Hatcher’s adaptation. It speaks to our times despite the out of date premise and the absurd situations depicted. This is a marvel of a play.

But certainly, this is a farce. And a laugh out loud farce. And one of the best that I’ve seen in quite a while.

Our story…a wealthy aristocrat had run off to the country to avoid the plague and left a serving man in the city to look after his home there. Said serving man has gotten involved with a charlatan and his female accomplice…they have been using the mansion as a base to fleece a number of wealthy gentry through any number of different devices. And…

“chaos is at hand!”

And I am guessing director Jesse Berger should get credit for casting The Alchemist…and the cast is marvelous…after watching this I can’t imagine who else could have played these roles more effectively. I have two favorites…we’ll get to that.

And Mr. Berger also has to get a standing ovation for his direction of this play. The complex timing, the movement of actors around the set, the fluid entries and exits, the swift and complicated costume changes all go on without a hitch…and he had the actors well prepared for what is a difficult text to speak and keep straight! The action is non-stop.

courtesy of the Red Bull Theater

We start with our nefarious threesome who have taken up shop in the mansion…Subtle, played by Reg Rogers, is by turns the alchemist, a seer, and a teacher…Face, played by Manoel Feliciano, who is the gentlemen who is left to care for the house plus a number of characters embodied to help Subtle with their scams…and Dol, played by Jennifer Sanchez, who is the female distraction or assistant or temptress in their schemes. And although they’ve all sworn to get along and co-operate and share their ill got gains…at any number of points they display a certain willingness to cheat the others out of theirs!

And it is these three who are most pressed upon to keep separate the various characters and roles they play as part of their schemes, straight along with their costuming and accents. Challenging in the least…but these three pull it off with gusto. Subtle to Face as they play through (much to the delight of this audience) “you wanted another part!”

Courtesy of the Red Bull Theater

And on to my favorites: Jacob Ming-Trent plays Mammon, “thou rotund sinner”. An apparently rich but greedy man of the neighborhood…and probably the character that lost the most in the various swindles…although often the source of his own undoing…and who actually gets the LAST word if not actually the last lines in the play. But Mr. Ming-Trent plays him with swagger and finesse and a bold love of life…and a certain pursuit of happiness that is a lot of fun to watch. And even though he is accompanied by his skeptical friend, Surly, here played by Louis Mastillo, Mammon never loses hope…until the bitter end. And Surly is my other favorite…ever skeptical…and just as devious as any other character. He often talks directly to the audience…informing them of the obvious or explaining his own actions…with the bravado of an extra in a mob movie, Brooklyn accent and all!

Courtesy of the Red Bull Theater

And we have a constant parade of others who seek advice, boons, requests, lessons, or an alchemist’s stone. Dapper, played by Carson Elrod, who is horribly unlucky at gambling and wishes that Subtle provide him with a familiar or spirit to bring him good luck at the gaming tables. You can probably guess where this ends up. But it gets pretty convoluted and hilarious before play’s end. Dugger, played by Nathan Christopher, a lovelorn tobacconist, who wants Subtle to advise a wealthy widow to select him as her next husband. The widow Pliant, played by Theresa Avia Lim, has more up her sleeve and apparently skirts than is apparent at first glance. Did I forget to tell you this was also something of a bawdy tale? My bad…it certainly is! Ananais, an Antibaptist who seeks a have a stone of his own to turn base metals into gold. He resists handing over payment without results which also leads to unexpected turmoil and comedy…and maybe a bit of bawd as well. Ananais is played by Stephen Derosa. And finally Kastril, Pliant’s brother who seeks help from Subtle to find a knight to marry his sister and lessons in argument! Allen Tedder provides us with a very outrageous Kastril.

Me thinks this version ends in a different; much different vein than Ben Jonson originally intended…but this one is sublime. So there you have it ” and a Shetland pony.”

As I said above, this streams online until February 14, 2022 and here is the link! It is a pay what you can presentation so please be as generous as you are able. I don’t think this play will disappoint you!

screen capture by Ed Heinzelman

UWM’s Winterdances 2022: All That You Touch You Change

Milwaukee has a robust and highly skilled dance scene in a large part because of the dance program at the University of Wisconsin – Milwaukee’s Peck School of the Arts. And for me, their Winterdances program is a much anticipated highlight in a dreary month of February.

screen capture from UWM events site

This season’s presentation featured four new works by four choreographers who had something to say and a cast of dance students who were able to give voice and moment to the choreography. A side note, the first three pieces also credit the dancers with assistance in developing the works. And there wasn’t a ballet slipper in the house!

The opening dance was Weight of Inscriptions, choreographed by the department’s artistic director Maria Gillespie. The main stage theater at the UWM Fine Arts complex features a thrust stage and in this case it was configured as a large circle and the circle was completely covered with a sheet of white drawing paper. Now we are used to thinking of dancers as moving through space, controlling that space, interacting with one another, defining the space between themselves, and existing as a kinetic time based media. But in this work the focus shifts to the two dimensional as each dancer takes up charcoal and makes marks across the stage. But not just any marks…they are defined by two points of the dancers body…a pivot point such as a hip or stomach…and then the end of the hand holding the charcoal as the dancer reaches out and pivots around on the floor of the stage. It creates some rather mesmerizing arcs and circles and should remind us all of the designs we drew after being given our first compass. But the dance goes beyond even the overall drawing. The dancers area of action while drawing is limited by the lighting which expands or contracts as the dance evolves and the dancer(s) have to react within the lighted areas. This was all very effective and captivating to this member of the audience. Unfortunately, there wasn’t an opportunity to document the fluid lines on the floor at completion. But by dance end, the dancers had attracted their share of charcoal to their costumes. Performers: Sydney Bannach, Mckenzie Johnson, Grace Winkel, Rae Zimmerli. Guest Artist Performer: Cuauhtli Ramirez Castro.

And this was followed by it’s own little performance piece, albeit not a ‘dance’. Two stage hands came on to pick up and fold the circular drawing paper…to clear the deck…and prevent spilling excess charcoal on the stage. It was a slick bit of choreography in its own right and reminded me of the ground crews at the old Milwaukee County Stadium rolling up the tarp after a rain shower. Yesterday these two individuals earned their own round of applause.

Next is probably the most intriguing dance of the series, second wave of the plastic tide, choreographed by Simone Ferro. This dance has a powerful story to tell and goes all out to tell it in a very dramatic and energetic manner. The dance features six dancers in costumes that have fluttery pieces attached that reminded me of feathers. So of course the tale of Icarus comes to mind…but the energy and contrasts…would also suggest influences from African or Pre-Columbian dance or tales. The stage here included a central ramp inside the proscenium portion of the stage leading to a low platform that overlooked a mattress padded area. And in repetitions the dancers proceeded up the ramp to the platform and tried to leap off the other side while a companion held them back…until they lost their grip and the lead dancer fell to earth on the mattress. Each fallen angel then rolled aside to make way for the next Icarus and picked up a piece of detritus and found a place for it along the front of the stage. As they proceeded the front edge began to fill up with litter…and as the title suggests plastic litter and from my seat the items looked like one of the most prominent pieces of litter of our time, an Amazon Prime plastic envelope. The musical accompaniment here was live and courtesy of a number of percussion students from the UWM music department…and the intensity of the drums cleanly emphasized the intensity and dynamics of the dance. Performers: Deajah Barney, Kaylee Branshaw, Destiny Garland, Lily McClutchy, Maddie Westreich. Guest Artist Performer: Gina Laurenz.

After intermission, Equation of Motion brought the tempo down a bit and restored a sense of tranquility to the scene. Using recorded music that tended toward an ambient meadow or woodlot environ, Ashley Ray Garcia, Lauren Fleury, Maya Hirsig-Smith, Emma Meznarich, zaak Ordonez, and Cheyenne Willis brought a fluid sensibility to Anthony ‘YNOT’ Denaro’s choreography. This was a welcome break to just watch dance without feeling on edge…but don’t let me fool you…the music built up and the piece moved to a rewarding dramatic climax.

And the last piece, by choreographer Parijat Desai, is In Her Defense. Here again we are immersed in a story telling line directly involved with understanding and protecting nature. On a stage crowned with naked tree branches that are dramatically limned via colored lights, our dancers perform what might be construed as rituals or supplications around a drawing that they create on the stage. Just to the left of center stage we again find a length of drawing paper and the dancers take turns drawing lines or arcs…sometimes apparently free hand and sometimes outlines of their arm…as the drawing finally resolves into a tree. Eventually the drawing brings all of the dancers together and a physical tree branch is used to create a percussive effect while pounded on the floor and then used to crush a blue pigment on the drawing and daub it around to resemble leaves. According to the program notes, Parijat developed this piece as a part of an ongoing process to make an evening-length work called How Do I Become WE with Parijata Dance Company. And In Her Defense explores our interconnectedness with the natural world and imagines a group of warriors-people who are learning to connect with the land and training to defend Her. Performers: Ava Ferrier, Chase Gilbertson, Zoe Glise, Jessica Lueck, Miranda Parker, Libby Steckmesser, and Jasmine Uras

Unfortunately the pandemic removed one of the joys of attending live dance performances…all of the dancers wore masks (as did the audience)…so we didn’t see any added nuances or signals of intent that faces so often portray.

For more information on choreographer notes, music used, and biographies of the choreographers, and the artistic director’s statement…for the on line program: hopefully this link will survive for sometime. OR see it below (we’ll see if this works):