How do we achieve actual progress towards solving problems that, if left unsolved, have the potential to destroy the world? That’s the question that is at the heart of Lee Blessing‘s A Walk in the Woods, which just opened at Actors Co-op (FB) in Hollywood. The story, on the surface, revolves around two arms negotiators, Andrey Botvinnik and Joan Honeyman, meeting over perhaps two years (the time period isn’t 100% clear) in Switzerland. Their job: find an agreement whereby the two countries can make the world safer by reducing the number of arms each other has. But is this ever possible? Will either country let the other gain an advantage, or will they just agree to reduce one obsolete set of arms, while building new equally lethal technology not covered by agreements? Will the reductions be significant enough to ever reduce the situation to a non-lethal state? Or … perhaps .. is what is more important the appearance of negotiating on the issue, never actually accepting something?
This play was written during the Obama administration, and discusses a time period seemingly during the Reagan administration, when the nuclear arsenals of the US and the Soviet Union were of concern, and when our leaders knew how to be diplomats. One question I had was the relevance of this play today, when our nation’s leadership doesn’t seemingly care about the world stage. We have an isolationist, jingoist, and militarianist “America First” (yet another problematic slogan) we haven’t seen since the days before WWI. Does our country even care about reducing armaments today? Are there negotiations going on to do so? There are recent proposals by the President to increase and modernize our nuclear forces, to increase and continue the “mine is bigger and better than yours” mentality that makes the world less safe. So in the era of Trump, is this play just saying the negotiations are pointless anyway?
Yet there are other issues — domestic and international — where we keep talking, but not making progress. Immigration. Climate Change. We talk and talk, propose agreements, only to see them scuttled by one side or the other for seemingly meaningless reasons. Could it be that the talks are just a delay and distraction tactic, creating the appearance of progress when there was never an intent of actually finding a solution — for in finding a solution, one side must be the victor and the other the loser.
So perhaps there is a point to this play — in the Trump era — after all. It is to show us that the talking may be a form of progress. The talking may delay something worse. The talking may be keeping hope alive — hope that future administrations may finally move beyond the talk to an actual solution, and the perception and appearance of progress might be replaced by actual progress.
Under the direction of Ken Sawyer (FB), the production is kept simple. Two actors, talking, with a roughly representative set that is sufficiently evocative but not realistic, drawing the focus to the words and the action. The performances themselves were good, but still in evolution (this was the second performance of the show, and there were points where the actors had micro-momental line recall issues that were quickly recovered). Phil Crowley‘s Andrey was the friendly Russian uncle; Nan McNamara (FB)’s Joan was the no-nonsense negotiator trying to prove herself. Both performers seemed reasonably realistic, and there was a good unspoken chemistry between the two. Combined with the story, the two kept and held your attention, and the two hours (including short intermission) passed without seeming to drag.
Also seen on stage were the two assistant stage managers, Katie Chen and Carla Vigueras both dressed identically in all white. They gave the opening welcome to the show (in unison!), and also operated in unison to change the set between scenes. Although not part of the formal play, they provided a little extra levity in what was a very serious production.
In keeping with the focus on the words and the story, the other production elements were kept simple. I’ve already mentioned Ellen Lenbergs‘s simple set design of abstract winter trees, projected headlines, a dock, and a bench. This was augmented by Adam R. Macias (FB)’s sound design, which created the soundscape of the woods, and was eerily stereophonic during the rabbit discussion. Mood and season was established well by Nicholas Acciani (FB) and Matt Ritcher (FB)’s lighting design. Wendell C. Carmichael‘s costumes were sufficient — there’s not much one can say about business attire, other than the Russian’s seemed vaguely Russian. E. K. Dagenfield (FB) was the coach for the Russian dialogue. Other creative and production credits: Christian Eckels (FB) [Stage Manager]; Lauren Thompson (FB), [Producer]; Selah Victor (FB) [Production Manger].
A Walk in the Woods continues at Actors Co-op (FB) through March 18th. I found it an enjoyable drama. Tickets are available at the Actors Co-Op Website, Discount tickets may be available through Goldstar.
Season Announcements: I’ve received some season announcements in the mail recently:
- 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)] has announced their 2018-2019 season (renewals are going out to subscribers, like us, shortly). The season consists of Shrek – The Musical, Matilda, and West Side Story. We’ll probably renew. Although there have been a number of local productions of Shrek, we haven’t seen it since 2011 when it was at the Pantages. Someone should let George Chavez know :-). This should be the first regional production of Matilda (wouldn’t it be interesting if they got Cabrillo Alum Lesli Margherita to return for the show). West Side Story is a classic; always fun to see.
- The Tabard Theatre Company (FB) in San Jose has an interesting season coming up: Another Roll of the Dice / Sep 14 – Oct 7, 2018; The Explorer’s Club / Oct 26 – Nov 18, 2018; Uptown Holiday Swing / Nov 30 – Dec 16, 2018; Snapshots: A Musical Scrapbook (featuring songs from the Stephen Schwartz catalog)/ Jan 11 – Feb 3, 2019; Beau Jest / Feb 15 – Mar 10, 2019; and Queen of the Mist / Apr 5-28, 2019. If they weren’t 300 miles away, we’d consider subscribing; still, we may drive up for Queen of the Mist. If you’re in the southern Bay Area, you should consider subscribing in our stead.
- Hollywood Pantages (FB). The Hollywood Pantage just made their season announcement; I addressed it in detail in this post. In short, it looks good, and we’ve already renewed.
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Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
Upcoming Shows:
The middle of this week brings opera: specifically, Candide at LA Opera (FB). That is followed the next weekend by the first production of the Chromolume Theatre (FB) 2018 season, Dessa Rose. The month concludes with James and the Giant Peach at the Chance Theatre (FB) in the Anaheim Hills, and tickets for Dublin Irish Dance Stepping Out at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB).
March was supposed to start with the MRJ Man of the Year dinner, but that shifted back a week, so we’ll go to it after our first show in March, the LA Premiere of the musical Allegiance at the Japanese American Cultural and Community Center (FB). This is followed by a HOLD for Steel Pier at the UCLA School of Television, Film, and Theatre (FB). The penultimate Friday of March was to bring Billy Porter singing Richard Rodgers at the Saroya (the venue formerly known as the Valley Performing Arts Center (VPAC)) (FB), but that has shifted to June and that weekend is currently open. The last weekend of March is open for theatre, but there will be the Men of TAS Seder.
April looks to be a busy month. It starts with Love Never Dies at the Hollywood Pantages (FB) [as an aside, there was just a great interview with Glen Slater, the lyricist of that show, on Broadway Bullet that is well worth listening to]. The second weekend brings A Man for All Seasons” at Actors Co-op (FB). The third weekend brings The Hunchback of Notre Dame at 5 Star Theatricals (FB) (nee Cabrillo Music Theatre (FB)), as well as our annual visit to the Original Renaissance Faire. The last weekend of April sees us travelling for a show, as we drive up to San Jose to see friends as well as Adrift in Macao at The Tabard Theatre Company (FB). Currently, we’re booking all the way out in mid to late 2018! We may also be adding an Ahmanson Theatre (FB) subscription, given their recent announcements regarding the next season.
As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.
