Displaying items by tag: Organic Theatre Company

Organic Theater has done such a wonderful job in The Memo, it is hard to imagine a more perfect presentation of this play by Czech writer and statesmen, Václav Havel.

The Memo is at turns funny and unsettling. While the original The Memorandum is rooted in the totalitarian Eastern Europe, in Paul Wilson’s fresh translation as The Memo, it reads as a commentary on the increasingly overbearing pressures today to perform in professional settings. That pressure is often ratcheted up to effect performance toward ambitious goals, often harnessing social pressure and WeWork-style perks toward these ends.

Set in a mythical office (the set is all in grays is by Terrence McClellan), The Memo opens with clerks busily waltzing in a stylized manner through the office, processing manila files. This and other transition scenes are choreographed by Erica Bittner, with music by Tony Reimer. Then a derby-wearing executive arrives with a bright red folder.. When he places it in the inbox on the main desk, the movement screeches to a halt, and the action and dialog commence.

Inside that red folder is the titular memo. The Managing Director, Gross (Tricia Rogers) struggles to read what sounds like gibberish (does she have it upside down?). Soon her shark-like Assistant Director, Balas (Joel Moses) arrives, joined at the hip now by that same mysterious derby-topped exec Kubs (Subhash Thakrar). Kubs speaks only through facial expressions – Thakrar is marvelous throughout with his big face an d exaggerated mugging. 

Balas explains that this memo is written a new, language – PTYDEPE – scientifically created for precision of expression, as a means to improved efficiency. It is being rolled out in administrative offices everywhere.
And it is here where The Memo strikes a dagger in the heart of the contemporary cultural ethos: those who adopt PTYDEPE will succeed, those who don’t will fall by the wayside - not so different than office apps that come and go. We watch as the Executive Director is coaxed into signing an authorization for this roll out, which then leads to the implementation of a PTYDEPE training department, and an unfolding world where The Office comes pickled in an Orwellian brine of 1984.

For context, Havel was that rare “poet king” who helped lead his people to freedom. Before the Arab Spring there was a failed Prague Spring (1968), an effort to liberate Czechoslovakia from the Communist Block. Dissident Havel ended up in prison. As with China today and the Soviet Union back then, Czechoslovakia’s totalitarian censorship inspired a flourishing expression of dark humored workarounds, lampoons, and with Havel, absurdist plays like The Memorandum– discrete takedowns of the excesses of central control.

While the object of the humor was obvious to audiences - the government censors could not pin down objections in those subtly subversive words on the page, making the power of the works even stronger. Eventually Czechoslovakia’s Velvet Revolution (1989) precipitated the fall of the Soviet Union, and Havel became president of his now independent homeland. 

The performances and Havel’s characters are magnetic. The intellectual currency that the Organic Theater’s troupe has brought to The Memo is inestimable, informing inspired performances by supporting actors like Mary Mikva as the Director’s Assistant and Kris Downing as Translation Assistant. (Downing was awesome in Organic's production of The Melancholy Play, too.)

In particular the performance of Nick Bryant as J.V. Brown, the PTYDEPE trainer, is inspired – and a tour de force of acting as he shifts back and forth translating nonsense language to English with the passion of a revival preacher. You will love and surely recognize the many denizens of this office, incluidng Stephanie Sullivan as Kalous; Schanora Wimpie as Masat; Kate Black-Spence as Kunc; and Laura Sturm as Talaura. Don’t miss the chance to see The Memo, running at the Greenhouse Theater through June 16.

“Picasso at the Lapin Agile” is a charming “what if” story that has twentieth century groundbreakers Albert Einstein and Pablo Picasso unexpectedly meeting at a bar in 1904. Set in Paris, France at the Lapin Agile, both men are on the brink of remarkable ideas – Picasso just a few years away from his famous Les Demoiselles d’Avignon and Einstein months away from publishing his revolutionary theory of relativity. Both men are also very confident in their genius and competitive in gathering attention for their intellect.  

Written by Steve Martin in 1993, “Picasso at the Lapin Agile” debuted at Chicago’s Steppenwolf on October 13^th of the same year following a brief workshop of the play in Melbourne, Australia. There are plenty of laughs as Einstein tries to impress the bar patrons with his wayward predictions of the future such as the automobile being a fad, or France becoming the superpower of the twentieth century while Germany becomes the voice for peace.

At one point, Picasso, quite the ladies’ man and not one to be pushed out of the spotlight - especially in front of one of his lovers, challenges Einstein to a drawing duel, creating a scene that is preposterously funny and really shows the boyish competitiveness in each of them. It takes many an intriguing debate or perceptive musing before the two fianlly realize that their contributions to the human race are equally valuable. Interestingly enough, Martin makes a weighty statement on how the contributions of these great difference makers of the twentieth century are remembered by most as Einstein and Picasso meet Elvis towards the end. As the three look to the heavens and see their names in the stars, Elvis points out, “There’s my name. Above both of yours and three times as big.”

The play is filled with interesting characters. Outside of Einstein and Picasso, we have a bartender, Freddy, who now and then surprises all with a profound statement of his own. We also have an idealistic barmaid, Germaine, Picasso’s art dealer, an inventor and a few regular patrons at the bar to which Einstein is often found attempting to break down his theories in a much simpler language in order for them to understand.

Superbly directed by Josh Anderson, the Organic Theatre Company’s current production of “Picasso at the Lapin Agile” at Greenhouse Theatre is an insightful piece that is both imaginative and funny. Joel Moses is wonderful as Einstein and Anthony Perrella Jr. is equal to the task as Picasso, together providing just the right touch of parodic humor to each character while keeping an appropriate tribute in place.      

The highly amusing “Picasso at the Lapin Agile” is being performed at Greenhouse Theatre through June 26^th.  For tickets and/or more show information visit www.greenhousetheatre.org.