t
Theatre>>
November 5-11, 2015 • BAY AREA REPORTER • 23
Cruising with Noel Coward by Richard Dodds
T
he best song in Noel Coward’s Sail Away comes at the very end, and it pretty much tells us that the characters we have been watching for the past two-plus hours aren’t actually worth our time. “Why Do the Wrong People Travel?” lets a cruise ship’s social director display her contempt for her disembarking charges. Had it been placed earlier in the musical, it would have given more context to the sort-of softening that the hardened character finds at the end. But this is not the show’s pre-Broadway run in Boston or Philadelphia, where my advice could be heard, and ignored, by Coward, but at 42nd Street Moon, which we count on to present it like it was. The musical, designed by Coward to showcase more his songwriting skills than witty dialogue, didn’t have much time to get it right before landing on Broadway in 1961. After tepid response out of town to the romantic lead played by Jean Fenn and enthusiastic response to the comic
lead played by Elaine Stritch, Coward discharged Fenn and conflated both romance and comedy into Stritch’s character with just three weeks before opening night on Broadway. We end up with a character of curious behavior and thin motivation. But it served Elaine Stritch well enough, boosting her profile and giving her good stories for her one-woman show decades later. 42nd Street Moon’s production of Sail Away at the Eureka Theatre is not one of the company’s stronger efforts. Even within the confines of its stripped-down production philosophy, the set is pretty much only a puckered backdrop representing a ship, and with dowdy costumes that are not even a rube’s notion of tourist garb. But the bigger problem is with the thin characters that Coward created, and much of the cast’s inability to put more flesh on their bones. “I have used a revue formula with a mere thread of a story running through it,” Coward himself would later say. But no matter how good the
David Allen
Allison F. Rich plays a quirky cruise-ship social director in Noel Coward’s Sail Away, which 42nd Street Moon is presenting in San Francisco for the first time.
songs, and there are a few good ones here, they don’t resonate much when our stakes in the characters are so low. Some have a pleasantly generic romantic edge, with such titles as “Later than Spring” and “Don’t Turn Away from Love,” but the best are the comic novelty songs. Coward creates clever lyrics for the
foreign-phrasebook song “Useless Useful Phrases,” and “The Little One’s ABC” is a kind of wicked inverse of Rodgers and Hammerstein’s “Do Re Mi.” These songs, along with “Why Do the Wrong People Travel?,” show Allison F. Rich at her best as social director Mimi Paragon. In the dialogue scenes, perhaps Stritch, with the sheer force of her Stritchiness, was able to create a coherent character, but Rich’s version of Mimi can look drug-crazed with flashes of sensitivity, along with a cruel streak flecked with not-so-clever ripostes. Most of the other characters come across as a bland bunch, with some exceptions provided by Darlene Popovic as a famous romantic novelist, Khalia Davis as her spunky goddaughter, Davern Wright as a drolly deadpan reluctant traveler, and Lucas Coleman as a stalwart romantic lead. Davis and Nathaniel Rothrock enliven the proceedings with their song-and-dance routine to “Beatnik Love Song,” a small nod to modernity, which also best shows
off Brittany Danielle’s choreography. And note should be made of 11-year-old Jordan Martin, who is realistically obnoxious as a generally despised hellion, but who surprises with his strong voice and sure way with some fairly grownup lyrics in the “ABC” song. Pianist and musical director Dave Dobrusky is joined by Nick Di Scala on woodwinds to provide steady accompaniment, but Greg MacKellan has directed the show without the sparkle that often brightens 42nd Street Moon’s forays into lesser-seen musicals. Sail Away is an awkward property. It’s not as abject-silly as some older musicals for which that silliness becomes part of the fun, and in which choice songs are often heard. But Coward’s efforts are neither throwback silly nor sharp enough to be a musical to help usher in the 1960s.t
ter officer whose airships wipe out Vietnamese villages to a spectacular recorded crescendo. “I love the smell of napalm in the morning!” The Thin Red Line (1998) Terrence Malick’s spectacular version of a pivotal moment in the battle for the Pacific gets a 170-min. restoration. (both 11/14) Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles (1975) Late director Chantal Ackerman’s 201-min. study of a middle-aged widow whose domestic chores come to seem heroic. The Seven Samurai (1954) Japanese master Akira Kurosawa’s epic look at 16th-century warriors sworn to protect their small villages from bandits. The Seventh Seal (1957) This Ingmar Bergman classic put postWWII Swedish cinema on the arthouse map and made an overnight star of his taciturn lead, Max von Sydow, as a knight returning from the Crusades who plays chess with Death. (all three, 11/15) The State of Things (1982) Wenders honors American horror master Roger Corman with this tale of the fallout when a film crew arrives in Portugal to remake Corman’s sci-fi B-movie The Day the World Ended. Also Wenders’ take on the American crime writer Dashiell Hammett. Paris, Texas (1984) It begins as a buddy film with the reunion of two brothers, Travis (Harry Dean Stanton) and Walt (Dean Stockwell). Believing his brother dead, Walt is shocked to get a call from South Texas indicating that Travis is alive but not exactly well. The two have some awkward, fumbling moments. Travis appears to be amnesiac, and Walt reminds him that he has a young son, Hunter (Hunter
Carson), and once had a wife, Jane (Nastassja Kinski). Wenders and co-writer Sam Shepard admitted in interviews that they didn’t know how to end this existential modern Western. (both 11/16) Junun (2015) Paul Thomas Anderson celebrates his artistic partnership with composer Jonny Greenwood. (11/18) Commando (1985) Before he was our governator, Arnold Schwarzenegger was an explosive action hero. In this 90-minute treasure, Arnold blows up an entire island (preceded by classic Arnold film trailers). Rambo: First Blood Part II (1985) Sylvester Stallone returns with this James Cameron-penned action bloodfest. (both 11/20) Addams Family Values Peaches Christ host two spectacular stage shows (3 & 8 p.m.) to showcase the screening of Barry Sonnenfeld’s campy romp featuring the droll talents of Raul Julia, Christopher Lloyd, Joan Cusack, Christina Ricci, Carol Kane, Peter McNichol, Christine Baranski, Nathan Lane, Peter Graves and David Hyde Pierce. (11/21) Goodfellas (1990) Martin Scorsese’s top crime saga gets a 25th anniversary restoration. The story of how the charming lifetime crook Henry Hill (Ray Liotta) waltzes in and out of harm’s way with lethal mobsters and the law never gets old. Based on a spectacular robbery at NYC’s JFK Airport. Scorsese was Oscar-nominated for commanding a spectacular cast including Oscarwinning Joe Pesci, Robert De Niro, Lorraine Bracco and Paul Sorvino. Carlito’s Way (1993) Al Pacino excels as the recently released Carlito, who goes legit after five years in the pen. Carlito’s lawyer Dave Kleinfeld is another spot-on turn from Sean Penn. Director Brian De Palma is this rich crime circus’ ringmaster. (both 11/22) Wings of Desire (1987) Wenders’ dreamlike fairy tale involves angels who swoop down over West Berlin observing humans and wondering what it would be like to lose their wings and turn into mortals. Inspired by the poems of Rilke, and featuring the extraordinary German actor Bruno Ganz and a mustsee cameo by Peter Falk as himself. The film has a unique color scheme where the angels appear in B&W while humans burst out in color. Faraway, So Close! (1993) Wenders returns to the theme of See page 25 >>
Sail Away will run at the Eureka Theatre through Nov. 15. Tickets are $25-$75. Call (415) 255-8207 or go to 42ndstmoon.org.
Castro Theatre enlivens November by David Lamble
T
he Castro Theatre outdoes itself with a post-election collection of double bills and special tributes that may keep you on-hand well into the Christmas shopping season. Psycho (1960) Alfred Hitchcock’s truly original creep-fest was a smash hit in its day, helped define the emerging horror genre, was shot in B&W because Hitch thought the bloody motel shower scene would be way over-the-top garish in notso-subtle Technicolor, made its sexy young mad killer a box-office sensation, and caused Anthony Perkins to be forever thought of as Norman Bates. It’s a thriller that retains its original bite. In its day, the picture reportedly made many filmgoers shower-phobic. Featuring Hitch’s best supporting ensemble: Janet Leigh, Vera Miles, Martin Balsam, John Gavin and John McIntire. Dressed to Kill (1980) Early in his career Brian De Palma was taunted by some critics for his Hitchcock obsession, but as this sublime thriller demonstrates, he understood how to up the ante on some of the master’s best tricks. The slick plot has a serial killer on the prowl after two different victims: a sexually frustrated housewife and a wily prostitute. Keith Gordon, himself a future director (The Chocolate War), is enchanting as the first victim’s son, who joins forces with the hooker to trap the killer. (both 11/6) Walt Disney’s Fantasia (1940) Right before America’s entry into WWII, young Walt teamed up with Philadelphia Orchestra conductor Leopold Stokowski to illustrate eight classic compositions. The film makes deft use of then still-youthful Mickey Mouse as “the Sorcerer’s Apprentice”; employs dancing hippos and alligators for “The Dance of the Hours”; “Rite of Spring” shows dinosaurs roaming our young planet; and “Night on Bald Mountain” is still quite scary. The program runs 215 minutes with a newly produced short. (11/8) Kings of the Road (1976) Taking his title from the Roger Miller country-music hit, director Wim Wenders explores the psychic problems of post-war Germans (Wenders was born in Dusseldorf on Aug. 14, 1945) who feel both drawn to and smothered by American culture. As one character bitterly puts it, “The Yanks have colonized our subconscious.” The American Friend (1977) Wenders continues considering
Dennis Hopper stars in director Wim Wenders’ The American Friend.
American domination of post-war Germany by introducing gangster and noir themes. Dennis Hopper appears as the sly American Tom Ripley, drawn from the work of noir master Patricia Highsmith. Matt Damon played Ripley in British director Anthony Minghella’s disturbing remake. (both 11/9) The Last One Unfolding the AIDS Memorial Quilt, a fundraiser. (11/10) The Diary of a Teenage Girl (2015) Director/co-writer Marielle Heller’s film is based on Phoebe Gloekner’s 2002 graphic novel whose chirpy 15-year-old heroine proclaims her battle plan for surviving the season in 1976 San Francisco, a city just past the “Summer of Love” but still chock-full of hypersexed teenage boys. As Minnie goes tripping down the block in visual tandem with her animated twin, Diary gives tacit permission to an online generation of girls eager to trade chat rooms for the adventures and perils of the streets. The film’s “Mrs. Robinson” moment is still capable of rocking the boat in an AIDS-era America. Mom (Kristen Wiig) is having her own affair with 30-something Monroe (a very cute Alexander Skarsgard). Feeling her oats, she gives Minnie permission to go after those silly bellbottom-wearing boys at her high school. “I don’t want to brag, but I was quite a piece when I was your age. What’s wrong with you? I thought you’d be more into boys. You have that kind of power, you know. You just don’t know it yet.” Dazed and Confused (1993) It’s the last day of school in 1976 Austin, Texas, chock-full of adolescent hormones. Texan Richard Linklater gets the feel, slang and energy of a group of Texas kids who won’t stop until they’ve exhausted every option. The attractive ensemble includes future
indie-film stalwarts Rory Cochrane, Milla Jovovich, Marissa Ribisi, Adam Goldberg, Matthew McConaughey, Ben Affleck, and Parker Posey. (both 11/11) Warren Miller’s Chasing Shadows A collection of shorts promoting skiing and snowboarding. (11/12) The San Francisco Transgender Film Festival Features a screening of Major!, the life story of Miss Major Griffin-Gracy, a 73-year-old Bay Area transgender icon. (11/13) Apocalypse Now (1979) Francis Ford Coppola based this savage epic about America’s Vietnam quagmire on Joseph Conrad’s Heart of Darkness. Martin Sheen plays a beleaguered junior officer assigned the task of reining in an American commander who’s gone native (Marlon Brando), or “terminating him with extreme prejudice.” Coppola put himself in hock emotionally and financially to complete his career opus. A series of loosely linked set-pieces, the film is at its best when it marshals music and carnage with operatic gusto. Robert Duvall has never been better than as the American helicop-
An angel contemplates mortality in director Wim Wenders’ Wings of Desire.