Everyman's "Art" Not Every Man's Treasure

SHOW INFORMATION:  Through June 29.  Tues 5/27, 6/3, 10, 17 at 7:30PM.  Weds – Thurs at 7:30PM, Fri – Sat at 8PM, Sat – Sun at 2PM, Sun at 7PM.  Tickets $22 - $35.  Information and reservations: 410.752.2208 or www.everymantheatre.org 

◊◊◊ out of five.  90 minutes, no intermission.  Adult language.

 

Art, the Tony Award-winning play by Yasmina Reza which opened last weekend at Everyman Theatre is the kind of play that theatergoers love to tell everyone they've seen, and the kind of play that gives non-theatergoers ammunition for that age old complaint: plays are boring and stuffy.  And, in a lot of ways, the play is a parody of itself.  If you are an avid theatergoer, you'll probably find it somewhat enjoyable at least; if you aren't, you can still probably find something enjoyable in the terrific performances that really are the reason to see it at all. 

This short three-hander is as much sitcom as it is an exercise in hoity-toity navel gazing.  Sitcom-wise, the set up is a gem:  three close friends are forced to choose sides and decide between friendship and total honesty when one of the three spends an outrageous sum of money on an all-white painting.  Arguments ensue and grow exponentially as true feelings come out and a sense of betrayal pervades the air.  There are moments of genuine hilarity as the plot unravels and the permutations of nonsensical arguments grow.  But what about the other 45 minutes?  Well, let's just say the arguments turn nasty, personal and overly philosophical.  And let's also say that were it not for the actors' rich, enthusiastic performances, the play would be dead in the water.  It is amazing how much of this play is like the painting at its center – not much to notice, but just enough to bug the hell out of you. 

Director Jeremy Skidmore has assembled a great cast and technical team, rounding out Everyman's season of amazing production values and top notch Thespian performance.  Like the painting, the set, by Dan Conway, is ULTRA modern, basically rectangle upon rectangle of walls and space, giving an almost Escher-like point of view that feels like infinity.  Jay Herzog's lighting is mostly cold and austere as well, much of it provided by recessed lighting aimed straight down.  He smartly uses color only when the actors are giving direct-address speeches to us which provide the only emotionally honest content to the evening.  Kathleen Geldard's costumes and Liza Davies' props mirror the minimalist/modernist themes as well. 

Mr. Skidmore has directed a taught, fat-free evening of theatre (you guessed it, as free of frills as that infernal painting).  And yet, it also betrays the overboard histrionics of Ms. Reza's script.  For all of her effort to keep things simple, minimal and modern, the whole thing suffers from an overwrought almost soap operatic feel.  Perhaps the most interesting aspect of the piece is that it delves somewhat realistically into the inner workings of that mysterious thing known as male bonding and male friendship.  To that end, this is Everyman's trump card, for the cast is superb. 

Karl Kippola is Serge, the man who bought the painting that gets the ball rolling.  He is, at first a master of economy, as spare with his delivery as he is with his movement, which is almost robotic as he searches for the perfect view of his purchase, and the perfect place to be seen smugly enjoying his purchase.  Kippola is both heartbreaking and hilarious as he responds to the reactions of his closest friends, neither of which reacts as he anticipates.  Later, as the character digs in his heels, he walks that fine line between being actually annoying and delivering an annoying character. 

Chris Bloch is Marc, the friend with the guts to tell it like it is – complete, no holds barred honesty.  Mr. Bloch is saddled with the most difficult role in the show, probably the reason why actors clamor to do this piece.  Marc is as pig headed as Serge, unbending, and infuriatingly snarky about the whole thing.  His arguments are blistering and hurtful, and Mr. Bloch makes sure to keep that delicate balance between performance and "too much reality."  He gets some of the evening's most vicious lines, and he delivers each with almost devilish glee. 

Everyman Company Member Bruce R. Nelson is a natural for Yvan, the prim, just-this-side-of-effete friend with a nervous condition brought on by too much thinking and letting everyone else have a say in his life.  He'd be an ace Felix for a Broadway revival of The Odd Couple.  Natural though he usually is, one never gets the sense that Mr. Nelson is doing more here than ACTING.  The whole thing never feels 100% real, but always feels 100% put on.  The centerpiece of this picayune, affected performance is a gut-busting whirlwind of a monologue about why he is late for dinner with the guys.  I'm sure this 5 minute speech has made the rounds of all the major auditions.  And Mr. Nelson delivers it with gusto and the gleam in his eye which seems to say, "you are going to love this, love me doing it, and will shower me with long applause and 'bravos.'"  And he got just that.  It didn't feel at all real, but it was probably the funniest 5 minutes I've enjoyed by this usually much better actor this season. 

If you like your art pretentious and your attitude distant, but begging notice, then Art is for you.  And if you appreciate fine acting, you won't go wrong here, either.  But if you need more than a blank canvas, you'd do better at one of Baltimore's galleries.

 

PHOTOS by Richard Anderson.  TOP to BOTTOM: The Cast of Art; Karl Kippola as Serge; Chris Bloch as Marc; and Bruce R. Nelson as Yvan.

 

 

To post a comment, you must register and login.