BWW Reviews: Theatre West Brings Back a Resounding VERDIGRIS

Verdigris/by Jim Beaver/directed by Mark W. Travis/Theatre West/through April 19

First mounted in 1985 at Theatre West, Jim Beaver's Verdigris was critically acclaimed. He has since reworked the play and now in its second production 30 years later, Verdigris still holds up as a major exploration of the dysfunctional American family in both a serious and comic vein. Directed skillfully once more by Mark W. Travis and boasting a stellar ensemble cast, Verdigris remains a winner.

In Spanish, verde means green and gris, grey and the combination 'verdigris' is defined as a green or greenish-blue coating that forms like rust on brass, bronze, or copper, especially with age or neglect. It's a metaphor for the Fielding family who reside in the small town of Edgar, Oklahoma in 1972; their homestead and, in fact, the entire town is rotting away right before their eyes. The old, invalid matriarch Margaret (Sheila Shaw) and her brother Jockey Farrell (Beaver), a die-hard drunken bum, are slowly dying, as are those younger souls trying to care for them. Margaret's son Carl (David Goldstein) is dead broke, and Ben Bo Burley (Dylan Vigus), his sister May Bee Burley (Corinne Shor) and new hired hand Richard Muldoon (Adam Conger) are doomed as long as they waste time and energy in Edgar.

The beauty of Beaver's writing is that you could be looking through a crack in the wall or through a keyhole and what you are seeing is the real every day comings and goings of the Fielding family. It's humorous but not an overblown satire; this is as real as it gets. These Okies live in this state and most will die here without reaching their dreams or finding that one piece of happiness that is so precious, true love. May Bee expresses it best when she fawns over newcomer Richard. A plain girl, she is desperate for love and is not afraid to hope for it. Called abusive names by her thoughtless employer Margaret, May Bee allows herself to be victimized as does her brother Ben Bo. Afraid of losing their jobs, they take the mistreatment and move along without saying a word until it hurts too much to hold in. Richard himself, although new to Edgar, comes from a background of alcohol and abuse and he blames himself for his sister's early demise as well as his father's untimely death. In love with Linda (Katie Adler), he is too insecure to tell her so, and thus loses his chance for a happy marriage to her. But, on the up side, he is studying acting and longs for a career on the Broadway stage. His relationship to Jockey - perhaps because Jockey reminds him of his dad - is quite moving and engrossing to watch. Beaver has written a terrific monologue for the drunken Jockey which explores past sorrows and regret with totally sobering, realistic eyes. Margaret's abuse is strong, but there is something sympathetic about her, and in spite of her braying, we learn to care for her, and her son Carl, who is perhaps the biggest wimp of all, afraid of living up to his father's standards.

Under Mark W. Travis' ultra capable guidance, the acting is first rate from the entire cast, and Beaver has cautiously created an eleventh hour scene for each character. The play may be long but the outcome is completely worth the wait. Shaw is amazing as Margaret. Physically and emotionally downtrodden, she is never afraid to crack a joke. She, like her dying taxi-cab business, which is run from home, is trying to survive and will use anything or anyone to keep going, to prevent her son from putting her into a county retirement home. Shaw is a strong actress who never loses sight of who she is, but allows herself a certain amount of vulnerability.

Equally inspiring are Beaver so pathetic as Jockey, Corinne Shor ever so touching as May Bee, Vigus likable as the docile Ben Bo, Goldstein as the fumbling Carl and Conger so afraid yet determined and willful as Richard. Richard serves as narrator of the play, and as a true outsider, steps away from certain scenes to appraise the people and incidents with humor and a truly caring spirit. David Mingrino is quite funny as a bumbling politician, and lending stalwart support are Cal Bartlett, Ian Lerch and Chloe Rosenthal, a bit over the top as Bonnie Fern, Carl's silly wife.

Remember that the play takes place in the early 70s when people were still trying desperately to find themselves. Sexual talk was becoming more open and self-expression was starting to take shape especially among women. Everyone will see someone in the ensemble that they can relate to. Beaver should be proud that his play is delightfully and fully constructed and that its message of love and hope still hold up some thirty years later. Verdigris is perhaps the best production I have ever seen at Theatre West. Great writing, great direction and superb acting make it a hands down hit!

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