Review: CVRep Presents a Fine Production of Albee's Disturbing THE GOAT, OR WHO IS SYLVIA?

Coachella Valley Repertory's (CVRep's) current production of Edward Albee's THE GOAT, OR WHO IS SYLVIA?, part of its theme "Romance: Real or Imagined," is well worth seeing for those who don't mind weirdness. However, prospective theatregoers need to be aware that this is a disturbing play.

The plot concerns Martin, a famous architect, happily married to his wife, Stevie. They have recently learned that their son is gay, which does not seem to bother them, although their best friend assures them that the son will outgrow it. (When the play opened on Broadway in 2002, being gay was, of course, more of a big deal than it is today). Martin has become absent-minded and sometimes smells as if he has been around farm animals. He finally confesses that he is in love with Sylvia, who is a goat. At first, his family and best friend assume this is a joke, but the horror builds over the course of the play as the other characters process what is happening. Eventually, reaction to the "affair" builds into an earthquake that destroys multiple lives, and results in a violent death.

Albee supposedly insisted that his play is not about bestiality. Commentators have opined that Martin's predilection is meant as a metaphor for any sexual orientation that society deems deviant. It is also possible that Albee made Sylvia a goat to hit the audience over the head with a parallel to the term "scapegoat;" everything was fine until Martin saw the goat, so the goat must be at fault. Another potential understanding - the one I find most benign - is that people can learn to deal with horrifying occurrences that have paradigms for a response, but that unhappy events too rare to have an established protocol for mourning destroy everything in their wake.

If the subject matter itself were not shocking enough, there are at least two gasp-worthy moments that occur onstage: an incestuous kiss and a blood-smeared character's dragging in an even more bloody corpse. Yet, for those who can get past Albee's love for creating indigestion in his audiences, this production hits the right notes. The acting and direction are first-rate. Director Joanne Gordon brings out the best in her performers. She also sets a fast pace, so the audience does not have the opportunity to catch its breath except between scenes, and she gives her actors permission to express the dark humor in their bizarre situation.

Sean Smith, with his earnest expressions and his beautiful baritone speaking voice, made me ambivalent about whether or not Martin is a monster. Sharon Sharth plays Stevie as likable and bubbly - a woman who uses her wit to banter with her husband in their friendly sparring partnership. Only as she begins smashing the expensive possessions in her expensive home do we realize that she has a vicious core that will eventually cause her to pay her husband back for his perfidy. Arthur Hanket plays the best friend as having no moral objections to Martin's having an affair, even though he is Stevie's friend as well as Martin's. However, as soon as he finds out about the goat, he is determined to send Stevie a letter reporting what he has discovered. Is he really trying to help? Ian M. White, who plays the high school-aged son of Martin and Stevie, and the saddest victim in the family disaster, like the older actors, strikes the perfect notes in his performance.

The tech designers have also done a fine job. Moira Wilkie Whitaker's lighting designs reflect the mood of the characters; the lighting through the picture windows is a soothing blue at the beginning of the play, then turns orange as the characters' emotions heat up. Jimmy Cuomo, assisted by Doug Morris, has once more designed a knock-out living room set, with a stunning white brick fireplace as the centerpiece. The furniture and fireplace evoke Palm Springs mid-century modern design, although it is clear that the action does not take place here. The furniture is lovely (Danish modern) but it does not look particularly comfortable - perhaps this is Mr. Cuomo's own metaphor for what happens within the house.

Except in a period piece, the hair and makeup rarely stand out - if the designer succeeds, the performers will look attractive, but the designer won't necessarily get the credit. In this case, however, because of the blood-smeared character dragging a bloody corpse into the house, the audience literally sees the fabulously horrifying results of Lynda Schaeps' top-notch work. I was prepared for the gruesome scene because Ms. Schaeps, who is my theatre makeup instructor at the College of the Desert, mentioned her makeup design to the class. Frankly, if I hadn't known what was coming, I might not have been able to look at the open-eyed corpse.

The rest of the design and production crew consists of stage managers Moira Wilkie Whitaker and Louise Ross, Doug Morris (prop master), Kate Fechtig (sound designer), Julie Onken (costume designer), and Tania Vasquez (running crew). Ron Celona, CVRep's founding artistic director, assisted director Joanne Gordon with the casting.

THE GOAT, OR WHO IS SYLVIA? is well worth seeing, as long as prospective audience members know what they're getting into. It will play through April 1, 2018. CVRep's 2017-18 runs include some Tuesday evening performances and an additional Saturday matinee. Evening shows start at 7:30 pm, and matinees (Sat. & Sun.) start at 2:00 pm. Ticket prices are $48 for previews, $63 for opening night, and $53 for all other performances.

CVRep is located in The Atrium, at 69-930 Highway 111, Suite 116, in Rancho Mirage. Tickets may be purchased by telephone at 760-296-2966; online at www.cvrep.org/tickets/; or in person at the box office. Box office hours are Mon-Fri 10:30-2:30 and two hours prior to each performance.

The last play in the 2017-18 season is 2 ACROSS (April 25-May 20, 2018). Two strangers board a San Francisco BART train at 4:30 a.m. They're alone in the car, each is married, both are doing the New York Times crossword. She's an organized, sensible psychologist. He's a free-spirited, unemployed ad exec. She is a crossword pro, he always quits. When he tosses his puzzle away, she snaps, "Crosswords are a metaphor for life, those who finish, succeed, those who don't, fail." This starts an eighty-minute ride described by critics as "Hilarious," "Witty," "Romantic," "Poignant," and "Wonderfully entertaining."

CVRep, a 501(c)(3) organization, is the only theatre in the Coachella Valley that has Small Professional Theatre status with Actors' Equity. As well as presenting its main stage productions, CVRep operates a conservatory and a children's program. CVRep is currently raising funds through a $6-million capital campaign for a larger building. It has purchased the IMAX theater in Cathedral City, at the corner of Route 111 and Cathedral Canyon Boulevard, and is about to begin construction of a 200-seat, modern theatrical venue on the site.

To contribute for the capital campaign or CVRep's annual operations, contact:
Barbara Wolser, Director of Development
(760) 296-2966 ext 103
barbara@cvrep.org

PHOTO CREDIT: Greg Brunton

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