michelle schusterman

children's author

Sigmund Freud and C.S. Lewis walk into a bar…

Actually, they walk into a study. Actually, Lewis walks into Freud’s study. And they have tea, not booze. And they’re anticipating an air raid.

Let me start over.

Last Thursday, I attended Taproot Theatre‘s newest play; Freud’s Last Session by Mark St. Germain. Scott Nolte, the Producing Artistic Director, sums up the plot:

The setting is London. The date is September 3rd, 1939, the day that Great Britain declared war on Nazi Germany. Outside Freud’s study the residents of London are activating evacuation plans, packing portable gas masks and huddling by the radio to wait for the King’s Speech. Inside Freud’s study, a young writer has been invited to take tea with an aging intellectual giant.

What would they talk about, these brilliant men, as the city around them prepares for war? An 83 year old Austrian doctor, reaching the end of a life that has seen revolutionary changes happen in the world, and a 40 year old British professor just at the start of his literary career. Here are two great minds, one an atheist and one a Christian, whose writings on the meaning of life, the existence of God, and the future of civilization will be immensely influential. Is it possible to have a conversation about important ideas without being demeaning, nasty, and arrogant?

Honestly, one of the most brilliant concepts for a play I’ve ever heard. Freud’s Last Session only runs 75 minutes – no intermission – and it just flies by. Nolan Palmer’s portrayal of Freud is fantastic; he delivers what could be downright insulting lines to Lewis with humor and a sort of surprising innocence. Matt Shimkus portrays Lewis as a highly intelligent man with strong convictions, yet who is still willing to listen with respect to the aging Freud in a way that doesn’t come of as a semi-pitying courtesy to the elder, but suggests he truly does have an open mind.

The punchlines are genuinely funny – and much needed, because the tense moments in the play are extremely so. The clips of announcements and news on the radio regarding the war build, and when the air raid sirens go off, the fear is very real. (When they finally stopped, many audience members heaved sighs of relief.)

The most emotional and well-executed moment is the climax of the play. Freud suffers from a cancerous growth in his mouth and reveals to Lewis not long after they meet his intentions on committing suicide – something which triggers a fascinating discussion between the two. The performances of both men in the final scene are among some of the most intense and emotional I’ve ever seen in the theatre.

Freud’s Last Session runs at Taproot Theatre through April 21st, 2012. Tickets are available online.

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Review of Tartuffe at Taproot Theatre

“Life is a tragedy to those who feel and a comedy to those who think.” ~Moliére

Arguably the most popular comedic playwright of all time, Moliére clearly believed in this statement – it’s evident in his writing. Because Tartuffe is absolutely a comedy, but considering what the story is based on, considering the religious hypocrisy, gullibility, and manipulation of the times the play shines a light on…it definitely has its tragic moments.

As always, the cast and crew at Taproot Theatre bring this story to life in a way that somehow both manages to transport us centuries back, yet relay a still-relevant message. Oh, and make us laugh. A lot.

The cast is just brilliant. Ruth McRee starts things off as Madame Pernelle, the moral, strictly Christian grandmother of the family who is instantly familiar to the audience. Her son, Orgon, has taken in Tartuffe, a poor, wandering man of false piety…or rather, he’s been taken in by the impostor. Other than Orgon and Madame Pernelle, the entire family sees Tartuffe for what he is, and hatch a scheme to expose him.

It backfires, of course. This is a comedy, after all.

Brady’s Orgon is frustratingly wonderful – you want to leap out of your chair and slap a bit of sense into him. Jesse Notehelfer is excellent as his wife, Elmire, who has the daunting task of simultaneously supporting her husband by doing the unthinkable with Tartuffe. Ryan Childers is a much-needed voice of reason throughout the play as Cléante, Orgon’s brother.

Charissa Adams as Mariane (Orgon’s daughter) and Nathan Jeffrey as her (hopeful) fiancée Valére do a wonderful job, particularly in their first scene together as an oh-so-in-love yet oh-so-stubborn couple. And a special note about the costumes – they’re all wonderful, but Valére’s is simply hysterical, so much so that all of his entrances are greeted with immediate laughter.

Josh Smyth gets a few laughs of his own with the officer’s impassioned speech at the end of the play. Solomon Davis is too funny as Orgon’s well-meaning, extremely passionate and energetic son Damis. And Charity Parenzini as Dorine the maid delivers some of the best lines of the play with impeccable comedic timing.

And then there’s Tartuffe, played by Frank Lawler. It was rather a surprise for me to see Mr. Lawler in this role after last seeing him in Beasley’s Christmas Party – quite a different character, and he pulls it off amazingly. Tartuffe is sleazy, loathsome, and detestable, and Lawler’s portrayal is one the audience loves to hate.

Interested in seeing Tartuffe? The play runs at Taproot Theatre through March 3rd, 2012. Tickets are available online.

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A Christmas party for all characters

I love big musical productions – the orchestra, the costumes, the constantly changing scenery and all the bells and whistles. But truly, it’s the smaller productions that really leave it up to the actors to draw you into the story and their world.

In Beasley’s Christmas Party, currently showing at the Taproot Theatre, four actors cover about a dozen roles, changing characters as quickly and effortlessly as they change hats (literally). In a few cases, one character is actually played, at different times, by two actors, and to hilarious effect.

The tale is based on a short story written by Booth Tarkington in 1909. Set in Indiana, it follows Booth (played by Frank Lawler), as he begins to suspect that gubernatorial candidate Beasley (Don Brady) is…not quite of sound mind. (As evidenced by the man’s chatting with invisible people, racing invisible men, and roughhousing with invisible dogs). He and Beasley’s neighbor Miss Apperthwaite (Lisa Peretti) speculate on the cause, although Miss Apperthwaite, as Booth soon learns, may not be the best person to discuss Beasley with, due to their personal history. Mr. Meyers, a close friend of Beasley, fills Booth in on the secret.

Lawler’s role as Booth is non-stop – if he’s not in a scene, he’s narrating it, and he keeps the pace moving wonderfully. Brady, Peretti, and Lamb are brilliant as the remaining eleven characters – on several occasions they flawlessly switch from one to another mid-scene.

The simple scenery and costumes are fantastic; effective, but allowing the audience to really use their imaginations and see the events as Booth did. And the story is exactly the type of story I want to experience this time of year – funny, charming, and quite heartwarming.

Beasley’s Christmas Party will be playing at the Taproot through December 30th. A special note: at under 90 minutes, there is no intermission, making this a great option for children. Tickets may be purchased online or by calling 206.781.9707.

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Wilde wit at the Taproot Theatre

“Oh, I love London society! It is entirely composed now of beautiful idiots and brilliant lunatics. Just what society should be.”

Fans of Irish playwright Oscar Wilde would recognize that quote as one of his as an instant – even if the play in which it appears isn’t his most popular. An Ideal Husband is filled with lines both hilarious and insightful, but this particular quote, in my opinion, completely captures Wilde’s ability to appeal to his upper-class Victorian audience while simultaneously poking fun at them.

And as soon as the play begins, you’re one of them. You thought you were sitting in the Taproot Theatre in Greenwood, didn’t you? But the moment the lights brighten on the set’s backdrop, an enormous, distorted 18th century painting – the moment the first ladies take the stage, gowned, glittering and gorgeous – you cannot possibly anywhere but at a highly fashionable dinner party in 1895.

The plot is just as relevant today as it was well over a century ago. A successful politician has a not-so-small blemish in his past. His wife believes him good – perfect, in fact. His career is on the brink of destruction when a conniving woman attempts to blackmail him.

In this case, Robert Chiltern is our threatened politician, played with intense emotion by Ryan Childers. Candace Vance performs the role of his adoring wife, Lady Chiltern, with the perfect balance of idol-worship – enough so that you believe her and sympathize with her, not so much that she irritates you.

However, she irritates the diamond brooch right off of Mrs. Cheveley, the devilish, seductive, and manipulative former lover of the baron to whom Sir Chiltern foolishly passed on a political secret years ago, in the form of a letter – a letter now in her possession. Nikki Visel is brilliant as Mrs. Chevely; near the end, you’re torn between wanting to hiss when she takes the stage, yet hoping she never exits.

All of the characters sparkle, including the fabulously self-absorbed Mabel Chiltern (Anne Kennedy Brady), the decidedly anti-feminist-but-well-meaning Lady Markby (Pam Nolte) and Lord Caversham, a man too old-fashioned even for the 1800s, performed to grumbly perfection by Nolan Palmer.

Their story is tied together by a dandy. Flippant, carefree, lighthearted – Lord Goring appears first to be the comic relief of the tale, with his quick, off-the-cuff remarks and hilarious observations. If it’s true that Wilde himself is a character in this play, then undoubtedly he is Goring.

But at Taproot, Aaron Lamb plays the dandy, and he does so with the exact balance of whimsy and worry necessary. Goring is friends with the Chilterns, has his own past with Mrs. Cheveley, and just might want a future with Mabel, and as the story progresses his juggling act increases in difficulty, to hilarious effect.

An Ideal Husband begins with light laughs and the first act ends on a serious, dramatic note. The second act is as entertaining as theatre gets – at times it’s difficult to hear the characters due to the belly-laughs and guffaws coming from the crowd. One could not ask for a more elegant evening out.

An Ideal Husband is playing at the Taproot Theatre in Greenwood, WA through October 22nd, 2011. Purchase your tickets online, or call 206.781.9707 to make a reservation.

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