2-05-05

Live from Houston

Depending on the response, this may or may not end up a regular feature here in the notes.  It's not a secret that I like live theatre and, in particular, small and community theatre.  Say what you want about the Houston art scene, but we have a wealth of low-cost, non-equity houses that provide hours of quality entertainment for those who get enough reality at home.  Assuming I remember, from time to time, as I attend shows, I will post my reviews here.  Mind you, this is only my opinion, I don't have any seriously formal training in theatre, so you can't really take this as a professional critique, just as my impressions.

Fear and Loathing in Scandanavia
Last night, I attended Ibsen's The Doll's House at Company OnStage.  Before I go into the actual review, I must warn you that I've never been a big fan of Ibsen.  He always seemed unnecessarily whiney and depressing to me, and most of his shows leave me wanting to slit my own wrists at the end.
          Having said that, I really surprised myself last night by enjoying the show immensely.  This was due in no small part to the strong performances brought in by actresses Karen Schlag and Kimberly Scoville.  Schlag, who held her own and carried the show as lead character Nora Helmer, filled the production with a frenetic, almost desperate energy as she portrayed Ibsen's deceptively shallow heroine.  From the beginning, Schlag's Nora betrayed the strength and fragility, the wit and ignorance, that make the plot possible and believable.  When Krogstad, played by Mark Carrier, threatens her with her forgery, you honestly believe she had no idea how serious her crime was; later, you continue to believe her resolve and acuity as she works her way through the knotted strands of a 6-year web of deceit.
          Schlag probably could have carried the show alone, but, luckily for her, she didn't have to.  Her performance was aided and enhanced by Scoville's performance as Kristine Linde.  I've heard it said that a true musician knows when to back down and support the soloist, and that is exactly what Scoville did.  As long as Schlag was on stage, Scoville played a steady cello to Schlag's dancing piccolo, portraying Ibsen's oh-so-familiar Faithful Scandinavian Woman with a sympathy and sad resignation that both expanded the role beyond its archetype and provided a stable floor for Schlag's gymnastics.  In her third act dialog with Krogstad, we finally get to see the full strength of her performance.  For those few minutes she is the ingenue, her needs are finally revealed, and, like the cello in a Tchaikovski overture, she wells up and fills the auditorium.  Then Schlag returns, and she slides down again, holding the line.
          The other performances were, for the most part, creditable.  Carrier put in his usual solid reading, although anyone who had seen him in Carl the Second would immediately realize that this wasn't his best work.  Glenn Dodson was believable as Dr. Rank. The only really dim light of the night was Patrick Jennings as Torvald Helmer.  He was unconvincing, and he lacked pace.  Throughout the first act, I had the distinct feeling that he was more concerned with remembering his lines than playing his character.
          He was lucky to be sharing a stage with Schlag and Scoville.  Their perfomances make you want to forgive any other minor difficulties.  Like true artists, they incorporated any weaknesses and tempered them into strengths.

 The Doll's House by Henrik Ibsen, adapted by Christopher Hampton, directed by Marianne Lyon, presented at The Company OnStage Fridays and Saturdays through February 19.  Tickets $14.00, discounts for seniors, students, and groups.  Reservations recommended.