Reviews

Ubuntu's 'Down Here Below' Perfects The Trick Of Watching The Homeless Vanish

The Ubuntu Theater Project is the most politically engaged theater company in the Bay Area, but if you like your theater to come with answers then Ubuntu will thwart you at every turn. Their latest, the world premiere of Lisa Ramirez’s Down Here Below is a rousing reworking of Maxim Gorky’s The Lower Depths from which it takes both spiritual and aesthetic inspiration. Painting a despairing picture of the clearing of one Oakland homeless encampment (a close approximation of Snow Park at Lakeside and Harrison), Ramirez’s play—with a cast of twenty and running just 65-minutes—is both epic and swift.

Rather than telling us what to do, or how to feel, or mapping out some Quixotic plan for the future, Ramirez gives us people and lots of them. You walk into Ubuntu’s new theater (a nice slice of unused warehouse space in FLAX art and design) and suddenly you’re in a crowd, as if every homeless person in Oakland just kind of emerged out of nowhere.

Shotgun's 'KILL THE DEBBIE DOWNERS! KILL THEM! KILL THEM! KILL THEM OFF! Is Urgent

Mark Jackson and Beth Wilmurt have a long-standing relationship with Chekov’s The Three Sisters. Their devised Yes Yes To Moscow (which Jackson directed and Wilmurt starred in) was an eighty-minute comic romp, an inversion of the play’s signature wish — “We must go back to Moscow!” — that somehow worked itself around to a striking wistfulness that was, well, Chekhovian. And Wilmurt’s cabaret show, Olga, imagines the most sisterly of the three sisters as a game chanteuse, entertaining soldiers and yes, wishing to leave her provincial home and conquer the big stage that is Moscow and the world. It’s ending is also striking and wistful, so again Chekhovian.

One might say that KILL THE DEBBIE DOWNERS! KILL THEM! KILL THEM! KILL THEM OFF! kicking off the Shotgun Players’ 28th season is the third of the Jackson-Wilmurt Sisters, the last of the trilogy, or maybe the third of the quartet, or merely the unruly middle child of the quintet, who knows? Maybe we just need to slip them a copy of Uncle Vanya or The Cherry Orchard. Whatever its final position, DD TRIPLE KILL is both less contained and successful than its predecessors, but also — and this is what you should care about — more aesthetically and philosophically urgent. We’ll also add alert to the future. That too is Chekhovian, the other, less recognized one, but the one you get here and the one you should want.

Ubuntu's 'Mother Courage' Dares, Soars, And Falters All At Once

One of Ubuntu theater’s great successes is how they treat social justice as a theatrical project, a real art. Each play is a provisional response to a never-ending problem. There is not one truth, but many. There is not one situation or conflict, but multiple fronts. There is no solution, only the fight that continues from production to production.

And that brings us to their latest battle, three hours and twenty-minutes of Bertolt Brecht’s anti-war, epic, Mother Courage And Her Children. Under Emilie Whelan’s vigorous, though up-and-down, direction, the company makes a radical case for Brecht, testing the limits of his vision, what ambitious theater can do, and what Ubuntu can accomplish. Not everything is successful, but it is fascinating and bracing and unusual.

Shotgun's 'Arcadia' Takes Up The Drama Of Those Who Come Last

Of all the theater companies in the Bay Area, the Shotgun Players, under founding artistic director Patrick Dooley’s guidance, is the most keen to the notion that theater is an occasion, that each performance is a gamble and a celebration of the play and the community that comes to see it. And it makes sense that Tom Stoppard’s Arcadia would represent a tantalizing bet for them. At his best, Stoppard is all about celebrations and Arcadia with its dual time periods (1809 and the present) is an attempt to feel the joy of the past in our fallen present.

Reviews, Editor's PickJohn WilkinsDecember 18, 2018The Shotgun Players, Tom StoppardComment