Program Notes

 To be a human being automatically requires “resilience of the spirit” as trials, tribulations, and suffering is a natural, perhaps required, aspect of the human condition. Life is always going to be full of problems, conflicts, and uphill battles and drama is based on conflict and its resolution. But there are situations; there are conflicts that speak to all of us due to their poignancy. The never ending complexity of the Jewish-Palestinian conflict is examined in the microcosm of four people in “Welcome to Ramallah”; a homosexual’s repression and abuse under a Fascist regime in “Violets Bloom as Sunset”; a teenage girl’s legacy of rape and a young boys neglect in “Stations”; a soldier who is put in a precarious situation at war due to the blonde color of her hair in “Blondes.” “Seven Jewish Children” echoes the pain of Israeli parents and family members as they watch their children suffer in an echo of voices; “American Sunset” explores the pain of the death of a loved one on the opposite side of a war; “Cottonmouth Jubilee” the indifference to pain based on racists beliefs.

These plays explore themes, situations, and conflicts that demand extraordinary resilience: war, persecution, death, pain. And by bringing them to life we stop and think of the extraordinary courage that it takes to be alive, in desperate situations, to find our way when we are lost, to make sense out of tragedy. In short: to persevere through the majestic cruelty of fate and come out on top. That is true Resilience of the Spirit. 

Paola Hornbuckle
Artistic Director, Resilience of the Spirit Festival

Special Thanks Gary Fields and Dave Good, photography

By Pat Launer 

SDNN.com

THE SHOW: Resilience of the Spirit Festival 2009, at Compass Theatre

This is the third annual Resilience Festival, which shines a light on human struggle and strength, and how adversity is battled and courageously endured, if not always overcome. This year, there are seven plays in two Programs, presented over three weekends. Artistic director Paola Hornbuckle, who wrote one of the pieces, has amassed an impressive array of dramas, by acclaimed and local writers, on diverse subjects, many of which are hauntingly topical and timely.

Program 1 is a stunner, which opens with acclaimed English playwright Caryl Churchill’s oblique, abstracted response to the recent Israeli attack on Gaza, “Seven Jewish Children.” Directed by Fred Moramarco, the piece features an ensemble of eight people of different ages and political persuasions, suggesting how to tell a young child about the tragedies just outside the door. The seven short scenes mark seven moments in Jewish history, from the Holocaust to the first intifada to the present day. Moramarco has his competent cast grouped, Last Supper-style, around a Passover table, quaffing Manischewitz wine, as they alternate their proposals (”Don’t tell her they were killed.” “Tell her this wasn’t their home.” “Tell her it’s our promised land.” “Don’t tell her about the bulldozer”). Churchill was angered by the recent attacks, and she’s clearly condemning Jewish history and hypocrisy: complaints of thousands of years of victimization turned into victimizing others. This isn’t a balanced or even-handed approach, and when it was first presented at London’s Royal Court Theatre in January, it evoked a furor, and many outraged cries of anti-Semitism. The play is potent in its simplicity (some have called its perspective simplistic); it’s definitely unnerving. See it and judge for yourself. Underscoring her biases, Churchill wants no royalties for any performances of the 10-minute playlet. Instead, she asks that audience members contribute to MAP, Medical Aid for Palestinians.

Thought-provoking as that little play may be, it’s not as gut-wrenching and unforgettable as “Welcome to Ramallah,” the American premiere of a highly charged 2008 work by a pair of English writers, Sonja Linden and Adah Kay. Linden’s provocative, political work has already been seen at Compass; her play, “I Have Before Me… a Young Lady from Rwanda,” was presented in 2005. This piece is semi-autobiographical, based on Kay’s experiences living in the West Bank city of Ramallah, working for human rights organizations. Like the central characters, two English sisters (though they’re played rather American here, despite the references to Marmite and tea), she came from a staunchly Zionist family. Her stand-in, Mara (Allison McDonald, excellent) befriends her Palestinian neighbors, and refuses to go with her Cleveland-based sister, Natasha (effectively manic Sherri Allen) to the kibbutz where they spent summers in their childhood, to scatter their father’s ashes, as he’d wished. Turns out that the family of Mara’s boyfriend Daoud was displaced from that very area, their land taken, their home destroyed. But there are even more uncomfortable connections revealed, to the sisters, to Daoud and to his aging, asthmatic uncle Salim. It’s a stimulating, unnerving piece of work, wonderfully directed by Charlie Riendeau. Saiid Zamingir and Haig Koshkarian are outstanding as the young man and his uncle (who speak, effectively, with Palestinian accents to the women, and signal their Arabic asides by talking without any accent). The ideas posed here, and the provocative way in which they’re presented, will not be soon forgotten.

The third piece of the Program 1 evening, Paola Hornbuckle’s “Violets Bloom at Sunset,” is also based in fact. The play was inspired by the story of her uncle, Andres Garcia Jaime, who was arrested in Spain in 1965, when he was 24 years old, under the Law Against Vagrants and Evildoers (Vagos y Maleantes) implemented by Fascist dictator Francisco Franco. Andres (also the name of the character, superbly played by Jorge Rodriguez) was held captive for three months. His crime: frequenting a homosexual bar. The heinous law, Hornbuckle reports, was only repealed in the 1970s. During the ’60s, there were “reform centers” run by priests, where gays were tortured. The cleric she created, Father Navarro (terrifyingly portrayed by Charles Peters, who makes memorable appearances in three of the seven Festival plays), seems to be a closet homosexual himself, which makes his horrendous tortures that much more aggressive and severe. Poet/playwright Federico Garcia Lorca makes an appearance (Brian Burke, marvelous in an ethereal, whispery way), and this, too, is rooted in truth. The real-life Andres was fascinated by Lorca, who was gay and brutally murdered. Honrbuckle’s uncle, who escaped Spain and lived in Sweden for many years, recently gave her an antique book of Lorca’s plays, like the one he had in his younger years. That book also found its way into the play, in which Hornbuckle herself appears in several roles. It’s a riveting story, and a heart-rending tribute to her uncle and all those, present and past, who have the courage to “be proud of who you are.”

In Program 2, “Blondes,” by American poet/playwright Frank Higgins, also stayed with me long after the final blackout. In Iraq, a young female soldier comes in to be “investigated” by a female officer, who wants to reward her with a purple heart for the gunshot wound she received outside Tikrit. After a protracted game of cat-and-mouse, what this supply private was doing in a dangerous area comes to light. It’s an awful story, too awful to have been imagined. As always, we civilians don’t know the half of what our soldiers are up to in a war zone. A chilling piece, tautly directed by Kevin Six, and admirably acted by Wendy Savage as the blonde who gives it all for her country (and her autistic son) and Calandra Crane as the hidebound Captain who’s hellbent on getting to the bottom of it all, even if the repercussions are worse than the facts. Todd P. Hylton plays the sergeant who comes up with the alarming diversionary scheme.

Other works in the Festival include “An American Sunset,” a short piece by San Diegan Jack Shea, about the Confederate soldier who wrote “Taps”; “Cottonmouth Jubilee,” by K. Biadaszkiewicz, which takes an indirect but unblinking look at the class and race divide in Mississippi, and the wanton murder of blacks; and “Stations,” by Michael Hemmingson, directed by David Meredith, featuring a spectacular, unaffected performance by 10-year-old Cody Menasche as a young boy wandering the streets of L.A., abandoned by his father and neglected by his mother. He meets up with another lost soul, a young woman possibly named Sandy (Bailey Rose Neil, first-rate) and in each other, they find a little solace.

This is by far the most consistently high caliber Resilience Festival yet. It’s definitely worth a visit - or two.

THE LOCATION: Compass Theatre, 3704 6th Avenue. (619) 688-9210; www.compasstheatre.com

THE DETAILS: Tickets: $12-15. Sunday-Tuesday evenings. Program 1 runs Sundays at 7 p.m. and Tuesdays at 7:30 p.m. Program 2 shows on Mondays and Wednesdays at 7:30 p.m., through August 5.

Resilience of the Spirit Festival an olio of plays

by Robert Hitchcox, SDtheatrescene.com

Compass Theatre is presenting the festival to August 5^th, running Sunday thru Wednesday. Seven short plays are presented in two programs. Program One, with three plays, runs Sundays and Tuesdays and Program Two, with four plays runs Mondays and Wednesdays.

Program One runs just short of two hours with a 15 minute intermission. Here’s a quick look at the three plays.

Seven Jewish Children was written by Caryl Churchill and directed by Fred Moramarco. It is unique in several ways. There are quite a number of blackouts as the eight actors, who are seated behind and to the side of a draped and decorated table/casket/altar. Seven are children of various ages and the eighth is a Rabbi. Between the first several blackouts the only spoken words by each of them was “Tell her….” During the blackouts they shifted seats. As the play progressed some stood, comments and relationships seemed to be in flux. The cast included Amanda Austin, Brian Burke, Allison MacDonald, June Gottlieb, Selina Turnbull Wood, Tracey McNeil, Charles Peters, and George Weinberg-Harter.

Violets Bloom at Sunset, by fellow columnist Paola Hornbuckle, was directed by Kevin Six. This is a terrifying piece. It is a look into the Franco period of Spain where a priest, Father Navarro (Charles Peters), under the guise of religion, does horrible things to two gay men held in cells. He absolutely nailed the inhumane priest. Cruelty was the rule. Brian Burke played the gay Jose and the Spanish playwright Lorca. Jorge Rodriguez played the tormented and violated prisoner Andres with a resolute passion. The playwright handled all of the female roles; Andres’ mother, a young bride, and a flower woman. The direction was crisp, acting convincing. One problem, which could have been easily solved, was that as Burke and Hornbuckle changed roles, a simple costume change would have helped. For her as simple over-the-shoulder shawl would have enhanced her Mama.

Welcome to Ramallah, penned by Sonja Linden and Adah Kayh, was directed by Charles Riendau with Paola Hornbuckle assisting. It was the long play of the evening. Finally there is a theatre experience that effectively and passionately expresses both sides of the story of Israel. Jewish Mara and Nat (Allison MacDonald and Sherri Allen) are hosting Mara’s close friend, Daoud (Saiid Zamingir), and his older relative Salim (Haig Koshkarian), both Palestinians.

A romance between an Israeli and a Palestinian may be difficult, a meeting of the minds of the polarized societies seems impossible. The playwrights captured the chasm that a wall can create between two societies.  Welcome to Ramallah is an education as well as an experience. Direction showed a compassion for the subject and the cast was passionately convincing. An interesting, somewhat confusing, but understandable bit of direction was when two conversations were going on at the same time. Somehow the information the audience needed was imparted.

McDonald balanced the feelings Mara had for Daoud while remaining well grounded as a liberal Jew. Allen, as her conservative older sister, created a nice dynamic between the two. A similar dynamic also existed in the generational gap of Daoud and Salim.

This is an impressive piece that I would like to see expanded into a three-act play. While the current one act does have a bit too much repetition, there are other avenues that could be explored. All of the characters are three dimensional and quite believable. Like the previous play, this is but one event in a story that can easily be fleshed out, exploring the many aspects challenging both sides.

Program One was almost themed on some level of personal conflict. Now on to Program Two with its three short plays and one longer production for a total run time of about an hour and a half. In Program Two has a somewhat militant theme. 

An American Sunset was written by Jack Shea and is under the direction of Nick Reeves.  It was the worst time for the United States. One half of the nation was at war with the other half. It is night, but the shooting continues. We are on the front line surrounded by an army of blue composed of Captain Ellicombe (Sam Teres), Sergeant Dixon (Rob Conway), Corporal Mason (Zeek Serrano), and a Private (Chris Megginson). A Reb, played by Rebecca Lundy, is shot and conflict abounds in the ranks.

Blondes by Frank Higgins with Kevin Six directing takes place in a current war. War often calls for creative solutions. That’s exactly what Sgt. Sullivan (Todd P. Hylton) did. He had the lovely PFC Joy Harmon (Wendy Savage) create a diversion for the possible enemy, but she couldn’t tell anybody what it was. Back, way behind the front lines, Captain Mullaby (Calandra Crane) had to find the answer. Something was not right on the front. The confrontation between the two women was fraught with lies from Harmon. The audience is easily drawn in to the verbal fisticuffs as these two talented actresses faced off.

Cottonmouth Jubilee, by K. Biadaszkiewicz and directed by David Paye, opens with Dorothy (Julie Raelyn), Flossie (Christe Miller), and Sue (Courtney Enea) sitting a spell sewing. In the background, under their dialog, there is singing in the background reminiscent of the Deep South not too long ago. While they are going about their relaxed hobbies, violence is about to happen. A shot rings out as a bit of the past is brought quickly to our attention, but does not faze the three before us.

Stations, the second program’s longer play, was written by Michael Hemmingson with David Meredith directing. There is a train that plies its way between Los Angeles and San Diego with a few stops along the way. For those of us that have ridden it, it can be quite an adventure and certainly a beautiful ride through San Diego County.

It certainly was adventurous for Sandy aka Jennifer (Bailey Rose Neil) when she meets young and precocious Chris (Cody Menasche). Chris combine most of the annoying ten-year traits: motor mouth, smart ass, and bothersome. Sandy’s attempt to read a book was of no avail. What transpires is an unique relationship between the two. Monopoly plays a part, the game that is!

We meet a suave, debonair man (Charles Peters in his third role in the festival) who apparently tries to seduce Sandy. Alas, things are not always what they seem to be . . . or are they? Once in southern San Diego County we meet Theresa (Alisha Perry), a friend of Sandy, alias Jennifer. Sandy and her mom (real mom Reina Menasche) maintain a good relationship. It is the real mom’s smart mouthed son who continually steals scenes. He is bright, highly articulate, and pleasure to watch as he interacts with the other players.

Stations is a charming piece with real people interacting. For those that expected more combat, this story is a story of people interacting with each other. We will always wonder, though, how much of Chris’s story is fabrication and how much is truth.

Behind the scene folks are very important. Tiffany Rivas was responsible for sound with Keven Reece on lighting ops and design. Artistic Director was Paola Hornbuckle assisted by Christe Miller. Dale Morris produced.

Resilience of the Spirit Festival is one of three short play festivals. We, who love the short form, look forward to the festivals. As with any group of plays, there are some with weak scripts or weak direction or weak acting. But, that play is over and we’re on to the next, which is high quality throughout. In this festival Welcome to Ramallah was definitely four stars. A couple were three stars, a couple average, and a couple below par. Can’t help loving the short play.