Terminal 39

Terminal 39

Synopsis

A soul, Kathryn, arrives in a way station, Terminal 39, on the road to heaven. She arrives confused, and is greeted by another soul, Gabrielle, who has to explain what has happened to her. As the scene progresses, Kathryn grows increasingly angry and resentful about her treatment in the terminal and the timing of her death, and ultimately convinces Gabrielle to join her in a rebellion against the angels and God. Gabrielle learns from Kathryn that life is miserable, and she joins Kathryn to avoid being sent to Earth.

As the souls share thoughts during their rebellion, Kathryn realizes that Gabrielle is the soul of her soon to be born granddaughter. Kathryn now has to convince Gabrielle she must leave the terminal in time to occupy the body of her granddaughter or she will not live. This she does, and Kathryn passes on to heaven.

Set Design

The set consisted of chairs set up in the manner of a bus terminal and a table. Simple, but effective.

Performances

Both actors did a good job of staying in character. Kathryn was feisty, confident, and initially confused. She could have been portrayed a little warmer in the end, but it was definitely good performance.

Gabrielle was portrayed as innocent and enthusiastic, just as a young child should be.

The Chairs, Performed by a Noise Within

Synopsis

This is a one act play concentrating on the end of the lives of two old people, Old Man and Old Woman. The Old Man and Old Woman meet and talk with imaginary guests who arrive throughout the evening to hear an Orator (a real person) present the Old Man’s great discovery. As the guests arrive, the Old Man and Old Woman bring out old, worn out chairs for them from closets. The guest of honor is the emperor.

After all of the imaginary guests arrive, the Orator arrives, who turns out to be a deaf-mute capable of nothing but loud mumblings. Just before he begins, the Old Man and Old Woman leap from windows to their death.

Eugene Ionesco is an early proponent of what became known as Theatre of the Absurd. The dialogue does not serve to tell a story but to raise doubts among the audience in their beliefs and perceptions of reality. It calls into question the meaning of reality, and questions the ability of language to answer life’s questions. The Chairs has a dreamlike quality where it means something and means nothing at the same time.

Set Design

The company used a thrust stage, with all of the set design up stage. The principal feature of the design was a three sided back wall up stage. The wall had multiple doors on the two side panels and a large entry way with a door upstage center. The walls looked as if they were either neglected because of poverty or the world has gone through an apocalypse (someone said that Paris was destroyed). As the act progressed, the Old Man and Old Woman brought old, worn out chairs out from the doors for imaginary guests, who were to listen to an orator reveal the Old Man’s discovery.

Performances

The cast consisted of Geoff Elliott, as Old Man, Deborah Strang, as Old Woman, and Andy Stokan, as The Orator.

Both Geoff Elliott and Deborah Strang provided a stolid performance. I thought Geoff Elliott started out a little weak, beginning the play a little stiffly, and not really fully in character. After the weak start, he got into his role, and he and Deborah Strang provided solid performances.

Andy Stokan did a good job yelling and mumbling his oration.

While the performances were good, I came away unsatisfied. My dissatisfaction has nothing to do with the performances, or any other aspect of the production by a Noise Within, but with the script itself. I simply do not care about the questions and doubts some intellectuals have about existence. Whether the world exists or not, or has any meaning, I have to live my life assuming that it does. If I want my perceptions of reality challenged, I’ll study quantum mechanics and relativity, where the differences between my perception of the world and reality really do exist. All I get from this play at the end is “well that was interesting, where can I get dessert?”

Comedy of Errors Review

The Comedy of Errors

Performed by a Noise Within

Synopsis

This is one of Shakespeare’s earliest work, written between The Taming of the Shrew and Romeo and Juliet, and based on the Roman comedian Plautus’s Menaechmus. The play centers on two sets of twins, separated when infants, and the confusion that follows when one set arrives in Ephesus, the home of the other set. One set of twins is named Antipholus (one of Ephesus, and one of Syracuse), and the other set is named Dromio, each the slave of an Antipholus).

The play begins with Egeon, a merchant of Syracuse and father of the Antipholus twins, telling the story of his life. He is under arrest by the Duke of Ephesus, who has sentenced him to death (there is a dispute between Ephesus and Syracuse, and any Syracusian found in Ephesus must pay one thousand marks or lose his life). When he was a young man, he and his wife, Emilia, were separated in a ship wreck, each taking one set of twins. She was then separated from the twins she rescued, they growing up as orphans. When Antipholus of Syracuse, the Antipholus that Egeon reared, became an adult he went in search of his brother, taking with him his slave, Dromio, who also wanted to find his brother.

Unknown to Egeon, Antipholus of Syracuse and Dromio just arrived in Ephesus. Unknown to them, is that the other Antipholus, a prominent merchant, and his man Dromio live in Ephesus, and unknown to all, is that Emilia is the local Abbess. From the entry of Antipholus of Syracuse, the play is a series of accidental meetings and mistaken identities. Antipholus of Syracuse is taken for Antipholus of Ephesus; the two Antipholuses mistake their Dromios; the Dromios mistake their masters. Antipholus of Syracuse attempts to seduce the sister of his brother’s wife, who is flattered, but shocked that her “brother-in-law” could be so unfaithful. This continues until Antipholus of Syracuse ends up in the Abby seeking sanctuary. All the main characters come together at the abbey, and then the Abbess recognizes her husband, Egeon, and all the confusion gets sorted out.

The company used a thrust stage, with all of the set design up stage. The design replicated a burlesque theatre. The company also used the audience space for entries and exits. This was my first time at A Noise Within where I was seated on the side of the thrust. I enjoyed the changed perspective but I prefer being in front.

This production treated the Comedy of Errors as a play within a play. The framing play was a burlesque company performing The Comedy of Errors, using costumes found in a burlesque company. Some costumes were “greek,” some simply outfits that would have been thrown together by a small company, some were the costumes that would have been worn by that type of character in a burlesque company (the ventriloquist wore tails). A musician, off stage, stage right, provided incidental music and sound effects. Sound effects included rim shots on bad jokes, and a ringing chime every time a character said “gold chain” (the players used a hand gesture the same time they said “gold chain”), a good effect throughout, especially at the end when “gold chain” came up frequently. The music and effects definitely strengthened the burlesque company frame.

Overall, the cast provided a balanced and solid performance. The Comedy of Errors does not have any character who drives the play forward, suffers great loss, nor can be called a moral center. It does not have an Iago or Othello, a Lear, Cordelia or Kent, or a Beatrice. Nor does it have a truly dominant character such as Hamlet or Richard III. In past performances at a Noise Within, I have always been disappointed by an actor who is not up to the role, but not this time. Furthermore, this play does not have the highs and lows of Shakespeare’s later plays.

While this is not a deep play, good farce is still great fun to watch.

I have two negative criticisms. One concerns the first and last scenes. The first scene should be darker, but end on a hopeful note. Egeon is being sentenced to death, but his story touches the Duke’s heart, who starts the scene not caring about Egeon, but ends it wishing Egeon’s survival. The last scene should be poignant, but end on a fun note. Everybody is reunited, and the Dromios decide to cut cards to decide who is eldest.

My second objection was Adiana’s song number. Her singing was OK, but I think that they should have had more songs or no song.

The verse speaking was good. This play provides fewer challenges than Measure for Measure when it comes to the verse, so every one in the cast was up to the task. They did a good job making the rhymes stand out, which is why the rhymes are there.

Bruce Turk, as the Antipholuses, and Jerry Kernion, as the Dromios, carried the show. They did a good job on the more absurd elements of the play, keeping true to their framing role of burlesque actors, and just avoiding being hams.