#1
Posted: 7/2/05 at 7:35pm
I saw "The Whore of Sheridan Square" at La Mama last night and it's one of the smartest, cleverest and funniest new plays I've seen this year.
The basic story framework is a parody of the film Sunset Boulevard, but the play has much more on its mind than that. Playwright Michael Baron (who also directs) uses that premise to tell the story of genius writer/director/actor Charles Ludlam who was a seminal and extremely influential artist in the 70s and 80s. He wrote 29 plays for his Ridiculous Theatre troupe before his tragic death at age 44 in 1987, many of which such as "The Mystery of Irma Vep," "Bluebeard" and "Galas" were highly acclaimed and are still frequently performed around the country. His unique brand of absurdism that was infused with a gay sensibility has influenced the likes of Charles Busch, Tony Kushner (there's a funny "Angels in America" reference at one point), Christopher Durang, Paul Rudnick and many other writers.
In this retelling of Sunset Boulevard, Joe (Harris Doran, best known for playing Claude in the Hair Actor's Fund Concert) is an out of work downtown playwright who, following being evicted from his apartment, stumbles upon the backyard garden of one Norma Charles (Eric McNaughton), who he recognizes as the great playwright whom he thought had perished in the great plagues of the 80s. He's invited into the home and is greeted by Norma's suspicious servant and handler Jane Evers (Ken Barnett, who is made up to look very much like one of the lead characters from "Irma Vep"). Following a costume change Norma enters and engages Joe to help write the text for a tribute Norma believes is being done for her at the Kennedy Center Honors. He agrees and begins to stay in Norma's home.
Baron uses many references to Ludlam's plays within the story and even features actors playing members of Ludlam's troupe (Black Eyed Susan, Lola Pasholinski and Ethyl Eichelberger here become Honeysuckle Rose, Lolatta Polasky, and Methyl Gassenberger). At one point the troupe does Norma's new play "Salami" which places the Salome story in a deli shop in Gary, Indiana.
It all very funny, but with a few serious undercurrents. The play also manages to be a critique of the current political climate we're in which makes it more difficult for artists to be dangerous or to take too many chances with their work (at the beginning of the play, Joe can't get any funding from the equivalent of the NEA because his work is deemed too risky and controversial). Baron makes a strong statement here for artists to continue to be bold and daring and make meaningful, thought-provoking art, as Ludlam did with his work.
Altogether this is a remarkable production which manages to capture the Ridiculous aesthetic (which is NOT easy to do) in the writing, direction and the acting. The performances were all outstanding, with special kudos to Doran (who bears an uncanny resemblance to the young Ludlam, although that's not who he's portraying in the show), McNaughton and Barnett (who has a complete mastery over Ludlam style). Special mention for the costumes as well (credited in the program to "The Ladies of Chesson Court").
Unfortunately, there are only two more performances of the show (tonight at 8 and tomorrow at 5:30 -- tickets $15), but if you can make it, I give it my highest recommendation.
The basic story framework is a parody of the film Sunset Boulevard, but the play has much more on its mind than that. Playwright Michael Baron (who also directs) uses that premise to tell the story of genius writer/director/actor Charles Ludlam who was a seminal and extremely influential artist in the 70s and 80s. He wrote 29 plays for his Ridiculous Theatre troupe before his tragic death at age 44 in 1987, many of which such as "The Mystery of Irma Vep," "Bluebeard" and "Galas" were highly acclaimed and are still frequently performed around the country. His unique brand of absurdism that was infused with a gay sensibility has influenced the likes of Charles Busch, Tony Kushner (there's a funny "Angels in America" reference at one point), Christopher Durang, Paul Rudnick and many other writers.
In this retelling of Sunset Boulevard, Joe (Harris Doran, best known for playing Claude in the Hair Actor's Fund Concert) is an out of work downtown playwright who, following being evicted from his apartment, stumbles upon the backyard garden of one Norma Charles (Eric McNaughton), who he recognizes as the great playwright whom he thought had perished in the great plagues of the 80s. He's invited into the home and is greeted by Norma's suspicious servant and handler Jane Evers (Ken Barnett, who is made up to look very much like one of the lead characters from "Irma Vep"). Following a costume change Norma enters and engages Joe to help write the text for a tribute Norma believes is being done for her at the Kennedy Center Honors. He agrees and begins to stay in Norma's home.
Baron uses many references to Ludlam's plays within the story and even features actors playing members of Ludlam's troupe (Black Eyed Susan, Lola Pasholinski and Ethyl Eichelberger here become Honeysuckle Rose, Lolatta Polasky, and Methyl Gassenberger). At one point the troupe does Norma's new play "Salami" which places the Salome story in a deli shop in Gary, Indiana.
It all very funny, but with a few serious undercurrents. The play also manages to be a critique of the current political climate we're in which makes it more difficult for artists to be dangerous or to take too many chances with their work (at the beginning of the play, Joe can't get any funding from the equivalent of the NEA because his work is deemed too risky and controversial). Baron makes a strong statement here for artists to continue to be bold and daring and make meaningful, thought-provoking art, as Ludlam did with his work.
Altogether this is a remarkable production which manages to capture the Ridiculous aesthetic (which is NOT easy to do) in the writing, direction and the acting. The performances were all outstanding, with special kudos to Doran (who bears an uncanny resemblance to the young Ludlam, although that's not who he's portraying in the show), McNaughton and Barnett (who has a complete mastery over Ludlam style). Special mention for the costumes as well (credited in the program to "The Ladies of Chesson Court").
Unfortunately, there are only two more performances of the show (tonight at 8 and tomorrow at 5:30 -- tickets $15), but if you can make it, I give it my highest recommendation.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Updated On: 7/2/05 at 07:35 PM
