Dysfunctional Family Makes for Dark Comedy in the Lyons,Motif TV
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Dysfunctional Family Makes for Dark Comedy in The Lyons ” This is a show that deals with life, death and everything in between–” The Lyons at 2nd Story The lives of a dysfunctional family take center stage in the black comedy The Lyons, which opened in previews January 10 and is running through February 9 at Warren’s 2nd Story Theatre. The Lyons was written by Nicky Silver and debuted on Broadway at the Cort Theatre in April 2012. This is a show that deals with life, death and everything in between. Paula Faber, a veteran member of the theater’s acting company, gives a tour de force performance as Rita, the overbearing wife of Ben Lyons (Vince Petronio), who is dying from cancer. Rita, stuck in a 40- year loveless marriage, now thinks of the future without Ben and plans to re-decorate their home. Ben lays in his hospital bed and speaks in a flurry of profanities. He is constantly annoyed by Rita and despises her. Their grown children Curtis (Kevin Broccoli) and Lisa (Lara Hakeem) also come to his hospital room to pay a visit. Lisa has left an abusive marriage and is a recovering alcoholic. Curtis, who is gay, has had little to do with his father, who is homophobic. Throughout the play, all the resentments between the Lyons bubble up to the surface. Rita is a fundamentally selfish woman who will not spare anyone’s feelings. However, she is not a one dimensional caricature either. Late in Act One, while her husband sleeps under dimmed lights, Rita realizes how empty her life will be once Ben is gone. The man she has spent so many years with has occupied a major part of her time and energy. Faber masterfully manages to gain the audience’s sympathy in a short monologue. Broccoli dominates most of Act Two, when Curtis has a fateful encounter with a wily real estate agent (Jeff Church) who is not who he appears to be. Broccoli gives a note perfect performance as Curtis, a troubled man who writes short stories for a living and has a non-existent love life. Petronio has a lot of funny moments as he quarrels with Rita about her plan to redecorate their living room after he is gone. There is also a touching and bittersweet moment when he reveals that despite all the hostility he expresses toward Rita, deep down he really loves her. The dialogue is witty and sometimes poetic. One exchange goes like this: Ben: “Rita, I’m dying!” Rita: “Just try to be positive.” Lucia Gill Case plays Ben’s nurse, who has some tart repartee late in the play with Curtis. Mark Peckham directed the production, which moves at a brisk pace. The downstage theater provides an intimate setting for a show like The Lyons. The four lead actors convincingly portray a family at odds with each other. The Lyons all seek happiness in their own way, and by the end, you are pulling for them to find it. 2nd Story Theatre DownStage, 28 Market Street, Warren, RI 02885, Box Office:401-247-4200, Web:2ndstorytheatre.com, Email: [email protected] Motif TV : Top things to do this weekend Funda Turns Sweet 16 Rhode Island Black Storytellers’ (RIBS) annual event welcomes in its 16thyear as the state’s premier, longest- running and only black storytelling festival: Funda Fest I have been on both sides of the stage with Funda Fest as both a performer and an audience member, and I have to say the sheer power of this viva voce marvel is guaranteed to move you. Stretching across the state, caravaning in the week of January 19 through January 26 will be 10 of the most heartfelt and exciting storytellers you could possibly ever want to be responsible for your unguarded imagination. Along with favorites Teju Ologboni from Milwaukee, Grammy nominated Christylez (pronounced Chris Styles) Bacon, and renowned storyteller Eshu Bumpers, making their debut appearance in the state and headlining the festival will be will be the performance duo of In the Spirit (vocalist Glenda Zahra Baker and storyteller Emily Hooper Lansana) along with the celebrated cast of the Rhode Island Black Storytellers. More than 20 years ago, Emily Hooper Lansana and Glenda Zahra Baker came together to form Performance Duo: In the Spirit. They have developed an extensive repertoire of stories that carry us on enthralling journeys. Each performance celebrates the power of the word to connect, uplift and transform. Their interactive, spirit-filled stories and songs engage audiences in a memorable, soulful way. Highlights of their performance history include: The National Association of Black Storytellers Festival and Conference, The National Storytelling Festival, The Illinois Storytelling Festival, Dance Africa Chicago and a number of museums, community and educational institutions across the country. I first witnessed this production in 2006, when the featured performers hailed from New Orleans, in support of the tragedy that happened there. The night totally changed my perception of storytelling. The orator’s voice connected everyone in the room until in the silence was weaved a people quilt held together by the single thread of the storyteller’s voice. This is not just for bedtime; because of the magic and level of coziness crafted by orator after orator, by the end of the evening a village was molded from the raw clay of strangers. Now seven years later I can say the momentum has not let up. Year after year I have been thoroughly inspired and I can’t wait to see the gifts brought by Funda 16 I asked Valerie what was the impetus that sparked Funda Fest (Funda meaning to teach and to learn in Zulu and KiSwahili) 16 years ago. “In 1999, The Rhode Island Foundation had an initiative to celebrate black arts and artists in Rhode Island. For years previous to that, RIBS would travel every year to the National Association of Black Storytellers Festival (NABS) and a group pondered having such a thing in Rhode Island.” she said. Storytelling is how we inspire blacks to tell our story in all the dimensions of being human. It’s what gives us hope, and what makes us black while bringing a broader image of being black. She finished. For full festival Information, join Rhode Island Black Storytellers on Facebook or check the website at www.ribsfest.org Contemporary Plays Around for 24 Hours “Sooner or later at every 24-Hour Play Festival, there arrives a moment where everyone comes together for the common cause of ripping up tiny bits of paper.” – Andy Hoover, playwright (one of six) for CTC’s 24-Hour Play Festival. In February, 1920, a group of Princeton student thespians staged their first production. Their theater was a dorm room and a blanket hung over a string that served as a curtain. What started as an exercise in parody and improvisation became a tradition for Princeton’s Theatre Intime. Their 24-Hour Play Festival is still billed as a “wacky, caffeine-fueled tradition [where] everything but the kitchen sink gets thrown into some wild productions, all written and staged in just 24 hours! Written by various authors. Directed by various directors.” Princeton alum and CTC Artistic Director, Christopher Simpson, brought the tradition to South County in 2006 and now Contemporary Theater Company is poised to present their version of the festival for the ninth year running. The premise seems simple enough until you break down the elements that make this unique offering possible. This is not improvisation, which CTC covers excellently with their late Friday evening Micetro series, but there is still very little time for structure, forcing the writers, directors and performers to think fast, think once and commit to those choices, however bizarre. Much like Christopher Guest’s loosely structured mockumentaries (Best in Show, Spinal Tap, etc.), there are a few guidelines, but the artists are left to their own devices in connecting the dots. At the start of the day, writers are given a short list of prompts and challenges and a few set lines that they must include in their pieces. Examples of guidelines include: “Two people speak the exact same line at the exact same time for very different reasons,” “include an ‘unstageable’ event” (which, in a past festival, resulted in a whale exploding onstage), and “someone has a gun that they didn’t know they had.” In addition, there are six lines that all of the writers must include in each play, giving audiences a chance to anticipate their usage in each piece. Directors are prompted to include elements such as: “Make the audience do something,” or “A musical number, sung sincerely” (an official composer is on standby, ready for such a prompt). Although all of the action takes place on January 11, the social media campaign is well under way to hype the event. Statuses from various participants betray a level of anxiety that would seem to indicate that work is already underway, although nothing can really be done in advance. On the big day, potential audiences can go to the Contemporary Theater Company Facebook page to see a play-by-play of the festival’s progress, from initial writing sessions at midnight, to actor auditions at 9 am, to frenzied, on-the-fly technical preparations as crews scramble to create costumes and props based on little more than a Red Bull-fueled fever dream. Other than showing off the talents and versatility of the assembled artists involved, why produce such an insane event? The resulting plays are not only untested, but are still dripping wet.