Minnesota Fringe Festival 2024: "The Dumb Waiter"

Day: 3

Show: 5

Title: The Dumb Waiter

Category: Comedy / Drama / Physical Theater / Political content

By: Jackdonkey Productions

Written by: Harold Pinter

Location: Open Eye Theatre

Summary: A one-act play by British playwright Harold Pinter about two hit-men waiting to do a job.

Highlights: As I've written several times, I don't get Pinter. His plays are so bleak and often absurd, I'm not sure what I'm supposed to get out of it. But maybe because The Dumb Waiter is not a full-length play (Pinter is easier to digest in small bites?), maybe because of Jackdonkey's excellent production, this is my favorite Pinter yet. It has a Waiting for Godot feel, with these two men sitting in a bare room (per the script they're supposed to be sitting on beds but per this Fringe aesthetic they're sitting on stools with a few props in a bucket, which works well), waiting for word from their boss about their next job. They have conversations about nothing (tea and snacks), and talk about past jobs that they can't forget. Ben (Dominic Schiro) is the calmer quieter one, reading a newspaper, while Gus (Robert Wood Frank) is a bit more restless, wandering around, leaving the room to make tea or use the bathroom, filling the silence with chatter. Both actors along with the director Zach Christensen are U of M/Guthrie BFA grads and continue a summer of excellent work by the Guthrie farm team. Everything is crisp, precise, and thoughtful, with the actors, particularly Robert, performing with interesting and specific physicality. The staging, lighting (by Matthew Walsh), costumes, minimal props, and use of the trap door as the dumb waiter are all so cohesive and well done. Fringe is a great place to see new work, but it's also a great place to see excellent new interpretations of established plays, and this is one of those.

Read all of my Fringe mini-reviews here.

"The Hothouse" by Dark and Stormy Productions at the Artspace Grain Belt Bottling House

I admit it - I don't get Pinter. Dark and Stormy's production of The Hothouse is the third play I've seen by English playwright Harold Pinter, and the third time I've left the theater (or in this case the bottling house) with a feeling of "what just happened?" Pinter plays are absurd, don't spell things out clearly, and are open to interpretation. But that's not a bad thing. In fact in this case it's a good thing. Dark and Stormy's production of this bizarre and funny little play is entertaining, engaging, and thought-provoking. And like all of their work (this is just the 5th play they've done over the past few years), it's brilliantly cast with some of the Twin Cities' top talent, and presented in a unique nontraditional location.

The title refers to an institution where the play takes place. It's called a "rest home," in contrast to a "convalescent home," but the details of how patients come to be in the institution and what kind of treatment (or punishment) they receive is unclear. What we do know is that there's a clueless boss (an absolutely delightful Robert Dorfman, making the most of every moment), a seemingly sycophantic but secretly ambitious second-in-command (Mark Benninghofen), another employee who seems to be his rival for the boss' attention (Bill McCallum), a new and eager employee (John Catron), the lone woman on the staff who seems to be in a relationship with several of the men (Artistic Director Sara Marsh), and a lower level employee who walks around turning off lights and moving furniture (Bruce Bohne). The play takes place on Christmas Day, which is neither here nor there, but what is noteworthy is that one patient has recently died and another has given birth. The staff tries to get to the bottom of this, but seems to be more concerned with their own place in the institution. The newbie becomes the scapegoat, which makes me wonder if he's actually a patient and just thinks he's an employee.

the cast in rehearsal in the Grain Belt Bottling House

The location of this play is truly unique - a large open atrium in the Arthouse Grain Belt Bottling House. It very much feels like a cold institution - cement floor and gray walls, with doors around the perimeter on both levels. Sparse office furniture populates the set, with four rows of chairs on one side for the small audience. Sound escapes and echos in this sort of a space, so the solution Dark and Stormy came up with is mics on the actors and headphones for the audience. It's a very odd and cool way to experience theater, one completely new to me, with the sound right in your ears even though the actors may be whispering in a far corner of the space. This allows for subtlety in delivery that can be heard in full detail, while the echos in the larger space can still be heard through the headphones. It all makes for an innovative and fascinating theatrical experience (sound design by C. Andrew Mayer).

The Hothouse continues through January 4. Check it out for a truly unique experience of this bizarrely funny and inexplicable Pinter play. UPDATE: The Hothouse has been extended through January 10.

"The Birthday Party" at the Jungle Theater

I don't get Harold Pinter.  This is the second of his plays I've seen in the last year or so, and although the plots were very different, both left me with a feeling of "what just happened" as I left the theater.  Which I guess is kind of the point with the acclaimed English playwright, whose "style mixed domestic turmoil, evasive dialogue and not-so-heroic characters with experimental storytelling styles and an atmosphere of comic menace" (according to a note in the playbill).  It's more about the language and the fascinating characters than the plot, which is intentionally vague.  In The Birthday Party, two mysterious men show up at a boarding house by the English sea, inquiring about its sole resident, for some unexplained but clearly malevolent purpose.  It's bizarre and inscrutable, but the cast assembled by the Jungle Theater is fantastic in creating these crazy characters that are somehow still sympathetic.  I can recognize that it's a great production of a classic play, even if I don't really get it.  And it's still a lot of fun, albeit perplexing fun.

Real life husband and wife Richard Ooms and Claudia Wilkins portray the married proprietors of this shabby boarding house, and not surprisingly, they're quite believable as an old married couple.  Stephen Cartmell is particularly effective as the depressed, haggard, mysterious resident Stanley.  He's hiding out in this little seaside town, from what we never learn.  But it has turned him into a skittish, angry, frightful man.  Stephen dives into the role whole-heartedly, and somehow engenders sympathy for this mess of a man who just wants to be left alone.

Mr. Goldberg, one of the two nefarious men who show up to claim Stanley, is played by Tony Papenfuss, aka "my brother Daryl" from Newhart (he's returned home from L.A. to continue his career on Twin Cities stages, how did I not know that?).  Mr. Goldberg is deliciously evil and up to no good, as you can tell from his slicked back hair and mustache.  His companion, Mr. McCann (Martin Ruben), is the muscle of the organization.  The sensitive Irishman is nervous until they actually start doing the job.  The two are a great comedy team with rapid-fire dialogue, especially as they're questioning Stanley.  Not surprising that the interrogation ends in screaming!  Rounding out the cast is Katie Guentzel as Lulu, who seems much too pretty and normal to be hanging out with this crowd.  But she obviously has a story of her own, which we never really learn, that attracts her to these misfits.

The dingy and unkempt boarding house comes to life in the precise and detailed little diorama that is the stage at the Jungle Theater.  As is common at the Jungle, the director is also the set designer, in this case Joel Sass, which always seems to create a cohesive vision for the story.  It's so lifelike, with dust and dirt on the surfaces, that I wouldn't want to set foot in that room!  But I did enjoy peering into it for two and a half bewildering, engrossing, entertaining hours.

"The Homecoming" at Center Stage

I went to Baltimore last weekend to visit my BFF and theater buddy, and to see my friend Trent Dawson in a play at Center Stage (the Guthrie of Baltimore).  If you ever watched the dear, departed soap As the World Turns, you  might know Trent as the lovable rascal Henry Coleman, a role he played for over ten years and for which he was nominated for three Emmys.  Since CBS cancelled the show last year after 54 years on the air, Trent has returned to his theater roots.  He did two shows off Broadway last year, and began this year in The Homecoming at Baltimore's Center Stage, where he's performed several times before.  The show also featured a couple of Minnesota actors: Steven Epp and Felicity Jones, both of whom worked at Theatre de la Jeune Lune for many years.  But I recognized Felicity as the ghost of Christmas past, a role that her twin sister Charity Jones played for several years at the Guthrie.  If I didn't know better, I would have thought they were the same person!  They share the same looks, voice, and talent.

The Homecoming was written by the English playwright Harold Pinter and won the Tony Award for best play in 1967.  It takes place in the London home of Max and his two grown sons, Lenny (Trent Dawson) and Joey.  The play opens with Max looking for a scissors, and Lenny ignoring him until he finally answers, "Why don't you shut up, you daft prat?"  That sets the stage for this funny and disturbing tale of a weirdly dysfunctional family, to put it mildly.  They hurl insults and physical violence at each other relentlessly.  The only sane one seems to be sweet Uncle Sam.  Into the crazy world comes the oldest son Teddy (Steven Epp), returning home after six years in America.  He brings along a wife that no one knew he had.  Ruth (Felicity Jones) is drawn into this mess of a family without much protest.  She seems to want her husband to pull her out of it, to demand that they leave together.  It's almost as if she's testing him.  But he just sits passively by and watches it happen, unable to do anything to stop it.  It's almost as if he expected it to happen.  Why he returned home to the zoo after he escaped I'll never understand, but family ties are strong.  It leaves one wondering what happened in this family that lead to this state, and why Ruth goes along with it so easily.  We're only given a part of the story, a small window into the crazy world of this family.

This quote from the playbill helped me make sense of the show, or rather, accept that I can't make sense of it: "Critics of The Homecoming often cite the play's intentional avoidance of clear-cut character motivation and easily digested meaning.  But for Pinter, drama that fits comfortably into understood, reassuring categories 'is not theatre but a crossword puzzle.  The audience holds the paper.  The play fills in the blanks.  Everyone's happy.  There has been no conflict between audience and play, no participation, nothing has been exposed.  We walk out as we went in.'"  This is definitely not a safe, comfortable play.  But good theater has the tendency to make one a little uncomfortable.  This was a wonderful production of a difficult play: great cast, fabulous period costumes, and a shabby chic set.

It was a fun weekend, catching up with old friends.  Baltimore's a fun little town (also home to one of my favorite shows, Ace of Cakes!), and Center Stage is a lovely and accomplished theater.