DINNER AND THREE SHOWS
posted by James Reel
The Tucson Weekly kept me busy last week. In today’s issue, I review three plays and a restaurant. I actually liked all three theatrical productions, as you might guess from the teasers:
A poor production of Tennessee Williams' _Cat on a Hot Tin Roof_ subjects us to three hours with a disagreeable Southern family in countless forms of denial. A good production cracks through those hard, nasty exteriors and squeezes out the complex pathos of each family member. In that and all other respects, Arizona Repertory Theatre's production is very fine, indeed. … What Arizona Repertory Theatre presents is a play that's not at all about hard, hateful people, but about people who love too much. … Arizona Onstage Productions' mounting of _Sunday in the Park With George_ is critic-proof, insofar as the whole run, including some added performances, is sold out, with the possible exception of the show tonight (June 26). But, as usual, producer-director Kevin Johnson has critic-proofed his production in a more important way than putting butts into all the seats before reviews appear: He's crafted something of sufficiently high quality that it stands on its own merits and generates a buzz even without help (or hindrance) from critics. … The romantic comedy _Prelude to a Kiss_ is not a particularly ambitious choice for Live Theatre Workshop, whose seasons are dominated by this sort of well-crafted entertainment. But director Terry Erbe has complicated things to good effect by introducing a live musical component to enrich the transitions between scenes. The lovely Amy Erbe, in a black evening gown and long white gloves, sings snippets of standards with piano accompaniment, the lyrics reflecting developments onstage. These are not stop-the-action musical numbers, but merely brief elements that bridge the action. She sings full-length songs only before the play and during intermission, and it's a shame that the audience chatters so much that you can't hear her very well when she and the pianist have the stage to themselves. As for Craig Lucas' play itself, it's a witty and warm psychoanalytic fairy tale about sex and death. Don't forget that "witty and warm" part, which is most important. But the business about transference and fear and desire is what gives the play a bit more intellectual heft than most works of its ilk. … Lucas wrote this in the late '80s as a subtle AIDS metaphor, but that's barely evident in Live Theatre Workshop's mainstream approach. It's about love and devotion, period, and if you want to read more into it, that's your business. As Peter and Rita, Nate Weisband and Dallas Thomas are an irresistible couple; they have tremendous chemistry together, the sort that makes you really care about their relationship from the beginning and root for them to be reunited, one way or another, by the end.
Get my more detailed and enthusiastic opinions here. On the other hand, the restaurant didn’t do much for me:
Let me make it clear that there is nothing bad about Arizona Pizza Company, but not much about it is interesting, either. It might be an agreeable drinks-and-pizza hangout if you live in the vicinity, but the next time I eat in that neighborhood, I'll be more inclined to patronize the more characterful Lebanese place nearby.
You can read that full review here.
