DELVING INTO THE MORES OF A SOCIETY<\/strong><\/p>\n

Expectations. I take my seat and anxiously await the beginning of today\u2019s main course: the Actors Co-op<\/strong> production of ANNA KARENINA<\/strong><\/em> at the Crossley Theatre<\/strong> in Hollywood<\/strong>. Suspicious I am that I\u2019ll be stuffed to the brim with plot details and characterizations that will give me indigestion. My hope, though, aims for higher ground – i.e. a heavy dose of theatricality. On reflection, Dale Wasserman<\/strong> succeeded in condensing Cervantes\u2019 1000 page DON QUIXOTE into the fulfilling MAN OF LA MANCHA<\/strong><\/em>. So, why can\u2019t Helen<\/strong> Edmundson<\/strong> hit the mark similarly with Leo Tolstoy<\/strong>\u2019s 900 page opus, I ask myself? This day\u2019s ensemble feast, within the confines of the Crossley<\/strong> black box, will tell the tale, I suppose, scheduled to be told again and again thru March 23<\/strong>\u00a0by these fine actors.<\/span><\/p>\n

The dance begins, a sweeping exploration.of 19th Century Russian life, Tolstoy<\/strong>\u2019s social conscience, his evocative language and universal themes of love and marriage often turned on their head. Appearances, constancy, betrayal, passion, competition, temptation – all of these coalesce into a somewhat satisfying, yet flawed theatrical experience. In this case, Ms.<\/strong> Edmundson<\/strong> muddied the waters so to speak. Grasping at the dizzying scope of the piece is an audience gasping for clarity, connections, changes of scene, character evolution, etc.<\/span><\/p>\n

\u201cWhere are we now?\u201d is the entreaty we hear time and again to lead the audience to a new setting or circumstance. This critic loves the adventure of sorting out the relationships and interactions among various characters. In every instance when I hear this question, it suggests artifice and immediately yanks me out of the drama. Honestly, though, too much may be expected (an inner voice reminds). Can an ensemble of eight do justice to the challenge of interpreting this story, even allowing for the adapter\u2019s narrowing of focus for our benefit?<\/span><\/p>\n

These actors surely speak to the depth of talent in the Actors Co-op<\/strong>\u2019s company. They address the challenges of the script with a shorthand which can only be explained by veteran players used to similar experiences. A cursory reading of their bios provides the evidence.<\/span><\/p>\n

Joseph Barone<\/strong> impresses from start to finish as \u201cConstantine \u2018Katya\u2019 Levin\u201d. Earnest in word and deed, he brings intensity and understanding to his role whether in advocating for peasants, pursuing \u201cKitty\u201d, \u00a0registering disappointment or interacting with \u201cAnna\u201d.<\/span><\/p>\n

Likewise, Bruce Ladd<\/strong> embodies the civil servant \u201cAlexei Alexandrovich Karenin\u201d to the core, highlighting his obliviousness, his reflection of societal moral obligation and his steely resolve. <\/span><\/p>\n

The remainder of the ensemble does its duty, given the limitations of the drama. Two qualifications to the above should be noted. Eva Abramian<\/strong> as \u201cAnna Karenina\u201d struggles mightily early on to portray Anna\u2019s sense of drudgery, yet her elevated station, as she is trapped in her circumstances because of moral constraints. Later, she seems to more accurately capture the reckless abandon of Anna. Also, Garrett Botts<\/strong> occasionally disappoints in the role of \u201cCount Alexei Vronsky\u201d. If he is to serve believably as the enticement to both \u201cKitty\u201d (a charming Ivy Beech<\/strong>) and Anna, the actor needs to up the ante on the dashing component of his characterization. Perhaps, though, that is just this critic commenting through a 21st Century lens. <\/span><\/p>\n

Lauren Thompson<\/strong>, Michael Worden<\/strong> \u00a0and Deborah Marlowe<\/strong> demonstrate distinctive character work as well with a deserved shout out, in particular, to Ms. Marlowe\u2019s \u201cRailway Widow\u201d. \u00a0Memorable. <\/span><\/p>\n

Director Heather Chesley<\/strong> manages a yeoman\u2019s job not only with her coaching of some notable dramatic work from this ensemble, but her creative vision also deserves praise (and she excels as a traffic cop, too).<\/span><\/p>\n

So, there were ample opportunities for acting largesse in Tolstoy\u2019s characters as interpreted by this playwright. No question, though, that it proves to be a tough slog at times for this audience member yearning for a much larger dose of theatricality than this version offered us.<\/span><\/p>\n

Theatre Curtain Calling\u2026 Reviewing the Situation<\/i><\/b><\/span><\/h2>\n","protected":false},"excerpt":{"rendered":"

DELVING INTO THE MORES OF A SOCIETY Expectations. I take my seat and anxiously await the beginning of today\u2019s main course: the Actors Co-op production of ANNA KARENINA at the Crossley Theatre in Hollywood. Suspicious I am that I\u2019ll be stuffed to the brim with plot details and characterizations that will give me indigestion. My<\/p>\n","protected":false},"author":1,"featured_media":3764,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"amp_status":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[83,80],"tags":[],"yoast_head":"\n