Saint Mary's University of Minnesota - School of the Artsplaywright: Yasmina Reza
translator: Christopher Hampton
director: Dr. Steven Bouler
cast: Andrew Winecke, Peter Snell, Curtis Kempton
scenic designer: Kit Mayer
lighting designer: Kirstin "Fluffy" Blake
costume designer: Alice Flo, Dr. Steven Bouler
stage manager: Katie Simon
A man buys a piece or art that becomes so controversial it begins to unravel his friendships.
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When Serge buys a white canvas with white stripes painted on it, his best friend, Marc, calls it "shit" and the friendship breakdown begins.
Although the question "What is 'art'" is certainly prevalent, the question "What is a 'friend'" is the dominant question. Too bad director Bouler doesn't make this connection.
Director Bouler's sole point here, seems to be to play up the comedy. This just doesn't work. The play is funny by itself and doesn't need cheap laughs (which come from only a handful of the patrons that saw it the Saturday night that I was in attendance).
When a script calls for actors to have soliloquies, in which they step out of the action to directly address the audience, there should never be any addressing the audience except for those moments. In this production, the cast was CONSTANTLY addressing the audience, either with looks for a laugh, or simply by talking to us as if we were actually there for the conversation. Keeping it "internal" -- on the stage -- would be much funnier. Instead there was a muddiness as to where we were and when.
With only a cast of three, it is important to have strong performances. All three young men did a fine job, though Curtis Kempton stood out as the slightly off-beat friend (but why the hell did he deliver the long, funny speech at his entrance straight out to the audience!!!!!).
Andrew Winecke was good as the curmudgeonly friend who hated the art. However, he sounded like the guy on the tv commercial who is always shouting. Andrew could use some advice on the difference between projection and shouting.
Peter Snell did a fine job as the art connoisseur, though frankly he didn't have much to do other than defend his choice in art (and friends). I have a personal frustration with Snell's work on stage -- he doesn't know how to walk or stand! He has a very affected stage walk that never looks relaxed or natural, and he always stands with his feet close together (often slightly pigeon-toed). He gets roles which require some authority, but his body language always betrays what he's trying to accomplish (also tends to act from the waist up, making his stance even more obvious).
I went, expecting ... HOPING ... to like this play. Instead I was greatly disappointed with the directorial structure. A beautiful, elegant, avant-garde set; nice lighting; appropriate costumes gave this a nice look, but....
