Theater review: Mamaí Theatre’s ‘Woman and Scarecrow’ offers some-more than … – News
November 13, 2014 - accent chair
According to legend, when executive and screenwriter George Seaton visited maestro actor Edmund Gwenn as he lay on his deathbed, he pronounced to Gwenn, This contingency be terribly formidable for you.
Dying is easy, Gwenn replied. Comedy is hard.
Marina Carrs Woman and Scarecrow suggests that utterly a conflicting is true.
The play takes place during a final moments of life for a prime woman, where we learn that her childish passions and total intensity were never satisfied due to a miserable marriage. Immobile and on her deathbed in farming Ireland, Woman reflects on a beating that has been her sour and unsatisfying existence, and she agonizes over each aspect of her tentative passing — right down to a boots shes to wear during her funeral.
Death, we are told, is many positively hard. But like associate Irish writers Samuel Beckett and W.B. Yeats, Carr approaches genocide with a wink in her eye, a dim and deliciously absurd clarity of amusement and an measureless talent for elegant expression. Woman and Scarecrow is as humorous and musical as it is surpassing and powerful.
Much of a comedy comes from Womans interactions with her devout counterpart, an puzzling haunt called Scarecrow, who shares a theatre as her demur or soul. Scarecrow relentlessly diminishes Womans morphine-enhanced aptitude for a regretful by fixation her contemptible life into proper, cruel and mostly comedic perspective.
Their consistent give and take and Womans final preparations for genocide are interrupted usually by her philandering father Hims brief and only visits to her bedside, Auntie Ahs neglected charity of Catholicism as comfort and counseling, and a feathered Deaths desirous cries emanating from a armoire during a distant finish of a room.
Mama Theatres entertainment of this formidable play, like a names of a characters in it Woman, Him, Scarecrow and Auntie Ah could not be simpler. The building that is a theaters opening space contains zero though a bed in that Woman lays, a armoire in that Death lays in wait and a chair where Scarecrow sits when not erratic a room.
At initial glance, it appears as if executive Pandora Robertson has finished this play a harm by undermining all a grand psychic and drug-induced imagery that pervades Carrs mostly epic language.
There is no scenic philharmonic depicting deaths penetration into and flourishing mastery over a area of a living.
Rather than horrible or hallucinogenic hues and soundtracks, teenager adjustments in lighting and sound advise a thoroughfare of time and Womans phasing in and out of consciousness. Makeup and costuming are picturesque and subtle.
As such, any skeleton by a playwright to spin Woman into something mythic, metaphorical or some-more than what meets a eye are neutralized by a plays comparatively bare-boned presentation.
The boon for a false morality offering by Robertson, scenic/costume engineer Inda Blatch-Geib and lighting engineer Robert Peck is that a behaving and not only a play is showcased in this production. This has spin a defining evil of a Mama play and, in a box of this one, is positively fit for dual really good reasons: Derdriu Ring as Woman and Bernadette Clemens as Scarecrow.
Their stellar performances element one another during each turn, from a relating Irish accents (which comes to Ring naturally), to a organic and liquid display of Carrs extreme and extravagantly talented dialogue, to gripping all that is comedic and cataclysmic on a ideally even keel. For such a depressed theme as a one addressed in Woman and Scarecrow, a prolongation is never morbid. For so many comedy, a prolongation never loses a loyal north.
Without a daze of elaborate staging, all eyes are glued on Ring and Clemens, that is where they many certainly belong.
James Lally as Him and Mary Jane Nottage as Auntie Ah do good to constraint a hint of their rather one-dimensional characters, though do not keep gait with Ring and Clemens, quite where a accent and organic display are concerned.
Anyone who loves good museum finished good should see this show. And move others so they can see what good museum finished good looks like.
Mama Theatres Woman and Scarecrow continues by Nov. 16 during Pilgrim Church, 2592 W. 14th St., Cleveland. For tickets, $10 to $20, revisit www.mamaitheatreco.org or call Info: 216-382-5146.
Bob Abelmans essay appears pleasantness of Cleveland Jewish News.