Tag Archives: Will Geer Theatricum Botanicum

Theatre Review: Wine in the Wilderness

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The killing of an African American teenager by an off-duty White police officer caused some riots in Harlem that left a total of 1 person dead, 144 people injured, and 519 people arrested in 1964. Some businesses are looted as well. The action in Wine in the Wilderness takes place during the last day of the riots.

The turmoil of the riots is the background for Alice Childress‘ exploration of African American identity. Bill Jameson (Max Lawrence) is trying to define the essence of the African American woman in three paintings. So far, he has painted two of them, a little girl that represents innocence, and an attractive adult woman that represents divinity. He just needs to find the third model to represent the downfall, the messed-up chick, as he calls her.

Bill is a college-educated artist. So are his friends Cynthia (Sydney A. Mason) and Sonny-Man (Kameron J. Brown). A friend of theirs, Oldtimer (Alex Morris) comes into Bill’s apartment trying to hide some of the loot he grabbed during the unrest. Oldtimer seems to be a drunk and far less educated than Bill and his friends.

To Bill’s surprise, Cynthia and Sonny-Man call him to let him know that they have found the messed-up chick he is looking for to complete his third painting. That woman is Tomorrow “Tommy” Marie (LeShay Tomlinson Boyce), who is not college-educated and whose house has been burned down in the riots. She is unaware of Bill’s intention to find the messed-up woman for his painting.

Childress then goes on to convey the idea that the Black Arts Movement left some people behind, in this case female and the uneducated. As important as the movement was, some of the artists that led the tendency turned it into an elitist group that perpetuated the sexism and classism that was already permeating the social fabric of America. The fact that Bill, Cynthia, and Sonny-Man haven’t even bothered to know Oldtimer’s real name, is an indication of their condescending attitude towards the less educated members of society. In that sense, Tomorrow and Oldtimer are the two characters that represent the people left behind by the movement. At the same time, they are the image of resistance and humanity, virtues that allowed the African American community to survive in the face of adversity.

The actors deliver an exciting performance, bringing to life the pungent and profound words embedded in the script. Lawrence and Morris start the action with vitality. Their playful interaction sets the tone of the story and heightens the conflicting perspectives of the characters’ perceptions on African American identity.

Gerald C. Rivers shows his other artistic talent, this time as a director. He displays the nuances captured by Childress’ script about the Black Arts Movement and the attempt to understand the core of the African American experience through the arts. Rivers does a fantastic job with Boyce, challenging preconceived ideas and empowering the image of the African American woman as a critical element of society.

This production is not only informative; it’s entertaining. It’s also an invitation to compare the past against the present and analyze what replaced the Black Arts Movement. By doing so, we can reflect on how much advancement has been achieved since the writing of this play, and what else needs to be done to transform society through the arts.

Wine in the Wilderness

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

Performances: Aug. 9 – Oct. 12 (see website for full schedule)

Tickets: theatricum.com

• Written by Alice Childress
• Directed by Gerald C. Rivers
• Presented by Will Geer Theatricum Botanicum

Starring LeShay Tomlinson Boyce, Kameron J. Brown, Max Lawrence, Sydney A. Mason, Alex Morris.

Creative team: Wine in the Wilderness features original paintings by Zach Bones. The costume designer is Beth Eslick, with lighting designed by Hayden Kirschbaum and sound by Lucas Fehring. Shoshanna Green is the prop master. Lena Ford serves as assistant director and dramaturg. The production stage manager is Lacey Szerlip, assisted by Alex Penner.

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.

Theatre Review: Queen Margaret’s Version of Shakespeare’s War of the Roses

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Will Geer Theatricum Botanicum presents Queen Margaret’s Version of Shakespeare’s War of the Roses. Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer.

Will Geer Theatricum Botanicum‘s artistic director Ellen Geer compiled Shakespeare’s best-known history plays—Henry VI Parts I, II and III, and Richard III—into a new edit of War of the Roses. 

This play pays special attention to the women of the British court, Margaret of Anjou, (Melora Marshall), Dame Eleanor/Queen Elizabeth (both portrayed by Willow Geer), the Duchess of York (Cynthia Kania), and Lady Anne (Claire Simba). These women are a reflection of the tragedies and insatiable ambition for power that characterized the brutal period known as the War of the Roses, spanning from 1455 to 1487.

This historical drama is a fascinating tale of intrigue, murder, and epic battles that fragmented the relationships between the monarchy and the nobility of England. The rivalry between the Lancaster and Plantagenet dynasties created new problems and opportunities. For one, the use of violence as a political tool became a common tactic to eliminate rivals, specially among the nobles and wealthy barons. It also created a phenomenon known as bastard feudalism, a way for those wealthy landowners to access the throne without having a direct royal bloodline, like in the case of Richard III (Jon Sprik).

The story is a parade of dubious characters. One of them is Lord Suffolk (Jon Sprik), a powerful figure who exercised the power behind the throne by taking advantage of a weak royal like Henry VI (Emoria Weidner). It was Suffolk who convinced Henry VI to marry Margaret of Anjou (Melora Marshall). Lord Suffolk and Queen Margaret were lovers and manipulated Henry VI at will. Their extramarital affair was so intense that Margaret carried around his severed head when Suffolk was captured and beheaded by an angry mob. In this play, Geer features Queen Margaret conspicuously, just like Shakespeare does in his History plays. Marshall, as usual, is impressive. She convincingly portrays a manipulative, intelligent, and courageous queen consort that controls the mentally unstable Henry VI, even leading an army and personally executing the powerful Duke of York (Max Lawrence), who was also vying for the throne of England.

As the battles and conspiracies continue with riveting performances by experienced and new actors, one thespian deserves special attention: Jon Sprik. His depiction of Richard III is a superb display of passion and technique. Not only his physical appearance and movements are exceptional—Richard III had scoliosis according to a study of his bones—but his speech is also sublime. His performance remind us of Dustin Hoffman in Midnight Cowboy, the kind of character actor that crosses the fine line between fiction and reality with ease to leave a powerful and everlasting impression on the stage.  

This special production is an example of Ellen Geer’s fabulous skills as a director. The meticulous attention to detail and the performances of her actors show her love and dedication for theatre. 

Even though the story is based on past developments, the same virtues and shortcomings affect the relationships between government officials, political adversaries, and their constituents today. The lighting casts a red hue on the scene where a mob chases down Richard III at the end of the play; it’s the red of the pool of blood upon which the kingdom of England was built. It’s the red of danger when despotic rulers abuse their power and commit crimes against humanity. Almost like a prophecy, Shakespeare’s writings continue to reflect the state of the world in which we live.                    

Queen Margaret’s Version of Shakespeare’s War of the Roses

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

June 24–October 1

Tickets and full schedule: theatricum.com

Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum. Cast: Melora Marshall, Willow Geer, Cynthia Kania, Claire Simba, Roman Guastaferro, Emoria Weidner, Franc Ross, Max Lawrence, Jon Sprik, Tim Halligan, Gerald C. Rivers, Christopher Wallinger, Charlie Burg; Sara Carpenter; Ben Church; Rhett Curry; Cole Dechant, Emelie Dechant, Julius Geer-Polin, Dylan Greer, Colin Guthrie, Emerson Haller, Christopher Wei Fu Hernandez, Michael Kendrick, Andrew Klein, Tariq Mieres, Nations, Daniel Ramirez, Quinlynn Scheppner, Anthony Soliz, Sky Wahl, Aralyn Wilson, and Elliott Gray Wilson. Creative team: Lighting designer Zach Moore, sound designer Charles Glaudini, costume designer Shon LeBlanc, and prop master Ian Geatz. Original music is composed by Marshall McDaniel. The production stage manager is Kim Cameron.

 

Queen Margaret's Version of Shakespeare's War of the Roses poster
A scene from Queen Margaret's Version of Shakespeare's War of the Roses
A scene from Queen Margaret's Version of Shakespeare's War of the Roses
A scene from Queen Margaret's Version of Shakespeare's War of the Roses

Theatre Review: Macbeth

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Will Geer Theatricum Botanicum kicks off its 50th anniversary with the tragedy play Macbeth. Written by William Shakespeare. Directed by Ellen Geer.

Macbeth, is it just a dream? Is Macbeth the witches’ dream? Are the witches Macbeth’s dream? Could the witches be an externalization of Macbeth’s character? Or, maybe even Lady Macbeth’s ambitions?

The debate is intense among scholars to decipher what the witches really represent in the play. As for their characteristics in Ellen Geer‘s production, the rituals and the behavior exhibited by the three witches and Hecate seem to infer that they were Scottish, and consequently, continental witches rather than local ones. In Shakespeare’s times, British witches were believed to be more interested in petty things and not having much control of magical powers. Continental witches, on the other hand, were perceived as more powerful and able to control the destiny of people, thus being able to foretell and influence Macbeth and Banquo’s future.

It is important to note that the Protestant King James VI, who survived several murder attempts, some attributed to the North Berwick witches, wrote Daemonologie, three books and a pamphlet about demonology and witchcraft. King James called the witches of his time “slaves of the Devil” and encouraged witch hunting during his reign. It is believed that Shakespeare wrote Macbeth as a tribute to King James, who became the royal patron of Shakespeare’s theatre company. The supernatural, the historical and contemporaneous perception on witchcraft, and the duality of paganism and Christianity influenced and inspired some of the passages in Macbeth.

Director Ellen Geer’s production renders a faithful representation of the play’s emblems that surround the story and give Macbeth the uncanny anxiety that leads him to madness and his ultimate demise. The apparitions, the moving grove, and the Weird Sisters’ rituals are depicted in visually stunning detail to emphasize the decaying mental state of the protagonist and the fatal consequences of his actions.

Both Max Lawrence and Willow Geer transcend in their roles of Macbeth and Lady Macbeth respectively. They keenly illustrate the initial attempt to support each other, but also their mutual devastation as a result- of their own excessive ambitions. Geer excels in her interpretation of the ambitious and oftentimes comedic leading lady, a sublime depiction of power lust and self-destruction. 

The stage, with a natural canyon ravine as its background, allows a dynamic performance. Actors enter and exit from all directions to give the audience an engaging experience. The costumes, lighting, and a touch of special effects frame this captivating story of kings, witches, good, evil, murder, and hope. Will Geer Theatricum Botanicum is a magnificent place to stage The Scottish play, a 400-year-old magical tragedy that continues to intrigue and fascinate audiences of all ages.

Macbeth

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

June 10–September 23 (see link below for dates and times)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Starring Max Lawrence in the title role; Willow Geer as Lady M; Aaron Hendry as Macduff; Claire Simba as Lady Macduff; Cavin (CR) Mohrhardt as Malcolm; Franc Ross as Duncan and the Porter; Taylor Jackson Ross as Hecate; Steven C. Fisher as Ross; and Jeff Wiesen as Banquo. Also in the cast are Marc Antonio Pritchett as Old Siward and Andy Stokan as the doctor. Presented by Will Geer Theatricum Botanicum. Creative team: Assistant Director Claire Simba; Fight Choreographer Cavin (CR) Mohrhardt; Stage Manager Kim Cameron; Assistant Stage Manager Ian Geatz; Costume Designer Tracy Wahl; Original Music Marshall McDaniel & Ellen Geer; Sound Designer Charles Glaudini; Lighting Designer Zachary Moore; Properties Master Alexander Sheldon; Wardrobe Supervisor Beth Eslick.

 

Macbeth poster
A scene from Macbeth
A scene from Macbeth
A scene from Macbeth