AISLE SAY Florida
OLD WICKED SONGS
by Jon Marans
Directed by Jon Marans
Starring Kenneth Tigar and Ken Ferrigni
Banyan Theater Company
Cook Theatre/FSU Center for the Performing Arts
5555 N. Tamiami Trail, Sarasota, 941-552-1032
July 16-August 2, 2009
Reviewed by Marie J. Kilker
What
a treat to hear Schuman's wonderful music so skillfully woven into Jon Marans' poignant story of the
reconciliation of two musicians to the time (1986) and circumstances of
their lives. And to each other-on the one hand, an American pianist of
25, after a dry spell as soloist, hoping to learn to accompany singers;
on the other, an old Viennese teacher of singers, nearly impoverished,
teaching what he hopes will be the first of needed students. As, after
a stoic hesitation, Stephen (Ken
Ferrigni, suited in formal gray and rightly incredibly stiff)
enters the studio of Prof. Mashkan, he is not at ease with any of the
pre-WWII furnishings and faded umber wallpaper. Stephen is under
duress, having planned to escape the dictum of a renowned piano teacher
who insists that, before his first lesson, he must study singing for
three months under Mashkan. Stephen's preferences for modern
architecture, music, performers completely contrasts with Mashkan's
artistic loves, as embodied in Vienna. To add anger to Stephen's
anxiety, ex-Nazi Kurt Waldheim is running for office, and Mashkan
doesn't seem to care, even when Stephen admits he is a Jew.
Concordant with the cyclical
Dichterliebe songs and poet Heinrich Heine's lyrics, which mingle the
singer's sadness with joy, Stephen and Mashkan go through crises
professionally, politically, and personally. Surprises come with
changes of tone. Stephen leaves for a time in order to find his way
back, not just to face the Professor but also interface. He helps save
Mashkan. Grudges are dropped, though much, especially concerning the
Holocaust in the country where it took such a toll, is hard to
tolerate. Summer blossoms after a difficult but productive spring. How?
Learning the details keeps one on the edge of one's seat!
Director Marans has great help
from Sound Designer Steve Lemke in producing superb music from
piano and recorded bridges as well as a convincing storm. Marans also
gets memorable, nuanced performances from Kenneth Tigar's deep Mashkan, with
his perfect German and oral interpretation of poetry, and Ken
Ferrigni's striking Stephen (his most profound and varied of three
well-taken roles in as many years for Banyan). My only reservation is
the height of the piano bench; it was not possible up close to see the
lips of one seated there speaking or singing. Set Designer Bill Clarke evokes Vienna from
Mashkan's point of view solely with props and furnishings, but he adds
an effective scrim that, with Michael
Pasquini's lighting, indicates a metaphoric passage beyond the
studio wall. Jaye Annette Sheldon
provides costumes which, especially for Stephen, show changes of mood
and attitude. There's also a symbolic Tyrolean hat. Pastries have
import and, differently from most plays, a few--though small--are
actually eaten!
Jon Merlyn is Production Stage Manager for a Banyan
production that should be as hot a ticket as this summer and a very,
very cool respite from the temperature outside the Cook
Theatre. 2 hrs, 15 mins. w/ 15 min.
intermission.
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