Tag Archives: Ellen Geer

Theatre Review: ROMEO AND JULIET

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With glowing green and golden fireflies flying around the ravine, the romantic tragedy of Romeo and Juliet is transferred from Verona of the Late Middle Ages to New York during the Gilded Age, making the story more relatable to a contemporary audience.

Despite a car alarm threatening to ruin the actors’ dialogue at the beginning of the play, the scenes continued without major disruption. Co-directed by Willow Geer and Ellen Geer, the classic tale of forever love is now set in 1885. New York is bustling with activity and new fortunes are being built with the expansion of industry and transportation. Unprecedented changes in America are happening at an incredible pace, giving people hope for a brighter future. The Gilded Age is synonymous of wealth, mansions, and names like Rockefeller, Vanderbilt, and Carnegie. It’s during this period that Romeo (Asher Hagler) meets Juliet (Quinnlyn Scheppner). They fall in love and their future looks bright. But what do the stars have to say?

One great thing about Will Geer Theatricum Botanicum is that it keeps the theatrical experience vibrantly analog. No digital displays, just lights, music, minimal props, and the talent of the cast. With the natural ravine as the background, even the sound of nature is highly appreciated. With this setting, what gives away the Gilded Age period is the costumes. Designer A Jeffrey Schoenberg presents elaborate costumes that reveal the elegance and status of the new riches. But the costumes also depict the personality of the characters. The red suit of Tybalt, for example, shows his ambition and aggressive tendencies, an element that stands out and plays with the concept of color psychology. The ladies, of course, are dressed in their best silks, brocades, and ruffles, displaying a rich palette of fabrics and colors.

The selection of a different period than the original is an attempt to correlate the opportunities for American society during the Gilded Age and the imbalances of society’s structure that left many people behind. The endless opportunities were not for everyone. Although the progress was extensive, the characters are still stuck in old beliefs and social norms. For Callahan (Ethan Haslam), keeping a high social status is imperative. That’s the reason he demands Juliet to marry Paris (Tomas Francois), a wealthy man that would elevate the Callahans’ prestige. But love is love and Juliet has other plans, in cahoots with Friar Lawrence (Max Lawrence).

The blocking is exceptional, allowing the actors to make great use of the big stage and platforms. Breaking the fourth wall is also an effective engagement device, as so is the actors walking and seating close to the audience. The fighting scenes add realism and movement to the story and heighten the tension among the characters. With all of these kinetics, Willow and Ellen Geer creates a space to nurture the humor and drama of this classical tragedy.

The cast is a mixture of experienced and upcoming talent. Ellen Geer as Nurse is fantastic. Sweet and spicy, she teases about female anatomy and male attractiveness, much to the amusement and shyness of a young and naive Juliet. Geer does it remarkably well, playing her character as the messenger between Romeo and Juliet, but also as the unfortunate prey of old traditions, unable to champion the drives and priorities of a new generation. Rhett Curry as Mercutio is excellent as well. He gets into the character with a hypermasculinity tendency that leads to tragic consequences. Great dialogue and action. As for the protagonists, Hagler and Scheppner are two young actors navigating the exciting and challenging rhythm of Shakespeare’s iambic pentameter. These young actors are on the right path to master the demanding job. It’s always exciting to see up-and-coming talent taking one of Shakespeare’s script and making it their own, metamorphosing and revitalizing iconic characters written more than 400 years ago. Their performances exude the innocence and illusion of an entire generation who truly believes that love conquers all. Kudos for their brave performances.

The change of time period is an intelligent way to keep Shakespeare relevant. Technology changes, but human behavior stays the same. Setting the play during the Gilded Age is a symbolic reference to the rapid and chaotic changes we see today. New fortunes are being created , but the question remains, who will advance and who will be left behind? Ellen and Willow Geer see these connections, and the Gilded Age is perceived as a time where opportunities came along, but only for a few. Romeo and Juliet represent that bridge, a hopeful new beginning, a break from the past. What are the realities behind the shiny, gilded mansions?

Romeo and Juliet

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura freeway)

June 6–Sept. 26

Tickets and show times: theatricum.com

Written by William Shakespeare. Co-directed by Ellen Geer and Willow Geer.

Cast: Asher Hagler, Quinnlyn Scheppner, David Benne, Billy Walker, Jesse Corwin, Rhett Curry, Tomas Francois, Jason Hayes, Ethan Haslam, Brooke Heatley, Michelle Jasso, Max Lawrence, Shane McDermott, Michelle Merring, Christopher Miles, Elijah Reyes, Ethan Ricks, Franc Ross, Jon Sprik and Ellen Geer. Taking on a variety of smaller roles are Cole Dechant, Asher Edwards, Kiley Fallon, Estrella Garcia–Starr, Abbs Stoiber and Elliott Grey–Wilson.

Creative team: Fight choreographer Cavin (CR) Mohrhardt, costume designer A Jeffrey Schoenberg, lighting designer Geoff Barton, sound designer Irene Silbert, properties master Shoshanna Green and wardrobe supervisor Beth Eslick. The assistant director is Natalia Jofre and the production stage manager is Karen Osborne, assisted by Amayah Watson. Sophie Edwards is production assistant.

Theatre Review: Strife

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With riveting performances by Franc Ross and Gerald C. Rivers, Ellen and Willow Geer give Strife a renewed sense of urgency, adapting the play to the 1890s in Pennsylvania, but reflecting some of the concerns of today’s job conditions.

From the trade guilds of ancient Rome to their transformation into Labor Unions as we know them today, these associations have tried to achieve economic and social justice by balancing the employer-employee relationship through group bargaining. Social activist John Galsworthy explored the tensions derived from intransigent positions by the two sides in the gripping story of the American Steel Corporation, led by its Chairman John Anthony (Franc Ross) and the Worker’s Committee, led by David Roberts (Gerald C. Rivers).

While the leaders of both sides refuse to give in, the families of the workers suffer the consequences. There is hunger and frustration, and the stakes are so high that the leaderships of Anthony and Roberts run the risk of coming to an end. Galsworthy’s writing is so relevant that his play still resonates today. It might be that the stubbornness of extreme positions have negative effects in more than just labor relations. Wars, trade disputes, and revolutions are clear examples of collateral damage suffered by innocent people at the mercy of leaders unwilling to compromise.

With the turmoil depicted and the dialogue, the cast have an excellent opportunity to shine. Ellen and Willow Geer do a fantastic job exploring the different layers of sensitivities displayed by the characters. Inflexibility, ambivalence, and desperation are embedded in the writing, and the actors make the best of it. If there were a Theatre Hall of Fame in Los Angeles, Ross and Rivers would certainly be inducted. They trigger your suspension of disbelief as soon as they hit the stage. Their portrayal of John Anthony and David Roberts is powerful and moving. They encapsulate the delusion of power and the desolation of its denouement.

The female characters add a significant weight and counterweight to the play. Annie Roberts (Earnestine Phillips) portrays the victim who pays the highest price of the prolonged strike. Enid Underwood (Emily Bridges) changes positions as a result of the unyielding stance of both sides of the conflict. Madge Thomas (Annie Reznik) embodies the frustration and powerlessness of the striking side; she’s a character who is protective and tries to mediate, only to see Roberts’ unwillingness to compromise and the indifference of Enid Underwood to the workers’ needs.

In this particular play, Galsworthy shares a similar style with George Bernard Shaw. To express their social commentary, both writers use long monologues, using dialogue as a tool to critique class divisions and the struggles of the poor. One distinctive detail in Strife, is that Galsworthy features Anthony and Roberts as opposites, one rich, one poor, but as the story unfolds, both end up as equals in their ambition to win the battle. The 180 degrees of separation eventually become 360 degrees of connection. Those nuances make this play timeless, resonating with the audience as any contemporary story would do.

The direction and the acting give a mesmerizing new life to Strife, a play that reflected the struggles of the working class during the early stages of the Industrial Revolution, but whose universal themes continue to echo the clamor for economic justice and fair balance in labor relations.

Strife

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290

Performances: June 21 – October 4

Tickets and schedule: theatricum.com

Written by John Galsworthy
Directed by Ellen Geer and Willow Geer
Presented by Will Geer Theatricum Botanicum

Cast: Franc Ross, Alan Blumenfeld, Ted Dane, Roman Guastaferro, Adam Mondschein, Andy Stokan, Gerald C. Rivers, Tom Allard, Hunter James, Cavin (CR) Mohrhardt, Rebecca Oca–Nussbaum, Sam Cowan, Brian Wallace, Emily Bridges, Clarissa Park, Earnestine Phillips, Annie Reznik, Aubrey Sage, Susan Stangl, Damon Rutledge, Marcus Andrews, Luke Bolle, Julius Geer–Polin, Mo Gordon, Danielle McPhaul, Kevin Rauch, Andrew Rodriguez, David Salper, Georgiana Swanson, Aralyn Wilson, Eliott Gray Wilson, Gabe Worstell, and Sammie Zenoz.

Theatre Review: The Winter’s Tale

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Will Geer Theatricum Botanicum presents A Winter’s Tale. Written by William Shakespeare. Directed by Ellen Geer.

Rage takes over Leontes (Aaron Hendry) and all hell breaks loose in this story of jealousy and redemption. Director Ellen Geer presents a fine ensemble to extract the humor and drama of the script and delivers an engaging rendition of Shakespeare’s psychological and romantic play.

One of the highlights of this production is Sophia Dawson‘s performance as Perdita. The role suits her well and she looks comfortable on stage. She projects convincingly the innocence and playful spirit of her character. Her speech and movements add magnetism to the iconic heroine. Visually speaking, Dawson has an astonishing resemblance to Edmund Leighton’s My Fair Lady, a romanticized depiction of a young woman from the Middle Ages.

Aaron Hendry offers an excellent performance as King Leontes, showing the dramatic transformation from an enraged husband consumed by jealousy to a repentant man consumed by sadness and regrets. Willow Geer as Hermione, explores the nuances of tragedy in a display of utter despair, reflecting the time when women had little choices to protect themselves against abuse and defamation.

The comedic relief comes mainly from Autolycus (Gerald C. Rivers), a pickpocket, Old Shepherd (Earnestine Phillips), and Clown (Daniel Ramirez), three actors with excellent timing. The comedy turns things around and the play takes a lighter tone, leading to the unexpected resolution of the story.

As usual, Geer stages this production with period costumes, making the play more appealing to the audience. The music and the dances keep things exciting and add kinetics to the performances. This Modern American staging of Shakespeare offers a sophisticated version of the drama and comedy of the text. It’s entertaining and visually exuberant.

Keep in mind that it’s an open stage surrounded by nature, so bring warm clothes; it can get chilly at night.

A Winter’s Tale

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA
(midway between Pacific Coast Highway and the Ventura freeway).
Exit the 101 at Topanga Canyon Blvd. South to access Theatricum from the Valley.

June 1–September 30 (see website for full schedule)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum.

Cast: Aaron Hendry, Willow Geer, Max Lawrence, Sophia Dawson, Earnestine Phillips, Christian Jordan Smith, Gerald C. Rivers, Daniel Ramirez, Aubrey Sage, Liza Rash, Tim Halligan, Michelle Jasso, Melora Marshall, Franc Ross, Andy Stokan, Kevin Rauch, Timothy Willard, Aralyn Wilson, and Julius Geer-Polin.

Creative team: Composer and musical arranger Marshall McDaniel; costume designer A Jeffrey Schoenberg; lighting designer Zach Moore; sound designer Grant Escandón; prop master Ian Geatz; and wardrobe supervisor Beth Eslick. The assistant director is Sara Carpenter and the production stage manager is Karen Osborne, who is assisted by Sky Wahl.