Seattle Review: Miss Witherspoon and What is Sexy?

Miss Witherspoon (ACT Theatre)

ACT Theatre continues their risky season with Christopher Durang's new existential dilemma, Miss Witherspoon. Nominated for the 2006 Pulitzer, this comedic romp effectively captures the emotions that accompany us in this ever-changing world. . With a superb leading performance and excellent support, ACT cements their reputation as the theatre to go to in Seattle for substance.

Durang's knack for blending comedy and drama is unrivaled. His frequent laughs are balanced by core themes that are insanely topical. Our flawed heroine Veronica is haunted by the uncertainty of existence. She commits suicide in hopes of escaping the cruel reality around her. When she learns that she is doomed to a life of reincarnation, Veronica attempts to remain in limbo despite the urging of her spiritual Hindu guide Maryamma. Durang takes his heroine on a wild journey full of his trademark absurdity.

Behind Durang's raucous plot are powerful questions. Miss Witherspoon is the first post 911 play to perfectly capture the confusion and uncertainty that accompany such tragic events. What will greet us when the spirit leaves the body? Durang seems to assert that our afterlife is dictated by our own beliefs. His heaven is for everyone. Are we in charge of our own destinies or are we controlled by an unavoidable force? Despite the dark themes throughout, there is a powerful sense of hope at the end of Miss Witherspoon.

M. Burke Walker's gentle direction allows Durang's text to speak for itself. He guides Veronica briskly through her various lives without attempting to add unnecessary bits that so many comedy directors fall victim to. Setting the action in the round is a perfect choice for a play that is firmly rooted in the human mind. Every beat and nuance is present.

Anne Allgood is everything a Durang leading lady should be. She fills her Veronica with a healthy amount manic urgency. Part Ruth Buzzi and part Lili Taylor, Allgood is able to deliver a comedic tour-de-force without sacrificing the integrity of the piece. Everything she executes stems directly from the character. Simultaneously manic, touching, ferocious, vulnerable, and questioning, Allgood holds the audience in the palm of her hand. She refuses to let us turn away from Durang's frequent queries on existence and afterlife. This is the smartest performance of the year.

Allgood is aided by a sublime supporting cast. Christine Calfas is pure perfection as Maryamma. Calfas gives a precise lesson in movement as she weaves her way effortlessly across the stage. Her performance is appropriately otherworldly. Mari Nelson is delicious in her two Mother roles. She adopts a schizophrenic trance that proves wildly successful. Demene E. Hall brings strength to Veronica's concerned teacher and sassiness to her uniquely realized Jesus. Terry Edward Moore throws himself into his five roles that include an overzealous Father, a sweet dog owner, and a holy version of Gandolf. The cast never apologizes for Durang's wild choices.

Bill Forrester's inventive set fleshes out Durang's tricky world nicely. His work is full of delicious surprises that perfectly suit the material. A moment where the set is sucked into the floor is heavenly. Rick Paulsen's rather apocalyptic design effectively bridges the gap between reality and fantasy. Frances Kenny's brightly comedic costumes perfectly realize the oddities throughout. Jim Ragland's sound design plunges us deeply into this not so far fetched nightmare.

Durang packs a lot into his intermission-free evening. Seemingly random events are woven together to create something that is equal parts hilarious and poignant. Karma, fate, and self-will are put under the microscope. ACT's delicious production of Miss Witherspoon is not to be missed. There is much laughter coming from the theatre. There is also a surprising amount of substance to be found underneath the laughs. We may never know what the next world holds for us. One can't help but hope that the next existence is as delightful as this magical new play.

Miss Witherspoon runs through May 28^th. For tickets call (206) 292-7676 or visit www.acttheatre.org

What is Sexy? (Washington Ensemble Theatre)

Washington Ensemble Theatre continues their ambitious work with a new experimental musing on the aesthetic of sexiness. What is Sexy? is an often engrossing look at what makes our hormones tick. Generated from a project at the University/> of Washington/>/>, this new performance piece examines what gets us off. In what could have been an excuse for nudity, this surprisingly tame outing has a fragility that proves quite affecting.

Director Marc Kenison has staged this world premiere with complete fearlessness. His confident work is full of melded bodies, precise individuality, and heartbreaking yearning. Kenison begins things with an over-the-top display of the exterior of sexiness.  He then begins to examine the interior of it all. The gigantic choices of the first half are matched with an ending that plays like an extended exhale.

Kenison is aided by an always innovative design team. Presented in red, black, and white, What is Sexy? has an undeniable theatricality to it. Dan Walker's gorgeous set allows Kennison to play things like a raunchy vaudeville. When the gentle portion of the evening arrives, Walker/>/>'s creation is torn down to reveal the alleyway. Natural light pours into the theatre to erase all superficiality created. Jessica Trundy's lighting frames the movements nicely. Her work has a deliciously apocalyptic wink to it. Heidi Gasner's marvelously cheeky costumes give great freedom to play. This production takes place firmly in the mind.

The solid six member ensemble (Colin Byrne, Mikano Fukaya, Elise Hunt, Jonathan Martin, Jeanette Maus, and Lathrop Walker) often work together like a master dance troupe, seamlessly connected to each other both physically and emotionally. There are occasional moments of egocentrism. The work sometimes seems more self-indulgent than completely necessary. A few references to the ensemble itself are misplaced, creating an inside joke that can be alienating to an outside source. While the work is as intelligent as ever, some choices by cast and director make What is Sexy? slightly less legit than it should be. Some additional fine-tuning will be needed before this work has universal appeal. Still, the actors are a convincing bunch. Highlights include Walker/>/>'s hilarious seduction of a chair, anytime the amazing Hunt moves or speaks, and Fukaya's layered singing. Despite a few pretentious trappings, the work found here has a fresh honesty that proves hard to resist. WET frequently transports to a place of pure theatrical nirvana.

WET has revealed a new work full of insight, humor, and fragile humanity. Theatre often presents one point of view, forcing its audience to take a singular journey. What is Sexy? allows each individual to take their own ride through the complicated landscape of sexual stimulation. This work is undeniably important in these times of misplaced conservatism.

What is Sexy? runs through May 29^th. For tickets visit www.washingtonensemble.org

Top: Christine Calfas as Maryamma and Anne Allgood as Veronica in Miss Witherpoon. Photo by Chris Bennion

Bottom: The ensemble of What is Sexy?. Photo by Jennifer Zeyl.

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