Uncle Barky's Bites Theater Review

FOC US FEATURES Mia Goth and Anya Taylor-Joy star in 2020's “Emma.”

By Chic DiCiccio @chiccywood

If nothing else, “Emma.” is the cockiest Jane Austen adaptation of all-time, if only for placing that period (not a typo) in its title. Is it a clever way to say this is a period piece or is it staking a claim as the best Austen-based film ever? It’s probably a no to both questions, but this “Emma.” is a joyous ride that grows better and better with each minute.

First-time director Autumn de Wilde drops us right into the life of Emma Woodhouse (Anya Taylor-Joy), a handsome, clever and rich (says so on the poster) citizen of the village of Highbury, England. She and her hypochondriac father (Bill Nighy) are attending the wedding of Emma’s latest matchmaking triumph, which she fully prides herself in doing. It’s almost as if Emma chooses to matchmake for others instead of herself as she’s waiting for a certain someone.

Look, we all really know where this story goes because who among us has not seen “Clueless?” As he rides up to Emma and her father’s massive estate, George Knightley (Johnny Flynn) quickly establishes himself as the only person that can call Emma out on her shallow, self-important ways. Of course, these two are head over heels in love with each other and we know where it’s going, but de Wilde and screenwriter Eleanor Catton deliver the tale with life, humor, and vibrant scenery that the journey stays fresh and fun. The main thrust of the plot revolves around Emma’s influence on young Harriet Smith (Mia Goth) and her obsession with the mysterious Frank Churchill (Callum Turner). Of course, it all unravels and Emma’s arrogance gets knocked down several pegs, especially when a wash of self-realization falls on her after she publicly insults the sweet Miss Bates (Miranda Hart).

Catton’s screenplay may not have changed much dialogue from Austen’s novel and the actors speak using the highest levels of The Queen’s English. It initially takes some getting used to, particularly when the characters quickly zing each other in that oh-so-British passive aggressive way. As your ear gets accustomed to the speed of their speech, “Emma.” takes off and becomes more enjoyable by the minute.

It also helps to have such entertaining leads in place and the entire cast is wonderful. Flynn creates a Mr. Knightley with unrivaled class, Goth is charmingly naive and goofy, and Hart comedically rambles on with hilarious results. Naturally, Bill Nighy does the "Bill Nighy thing" and absolutely steals every scene that he’s in with nervous stutters, tics and an overall weariness of all things.

If you want to brag to your pals about being a fan of Anya Taylor-Joy before she became a massive movie star, the time is now. Her screen confidence, timing, and overall presence is striking. Austen novels are perfect for a lead actress to showcase their skills and Taylor-Joy takes this gorgeously written role and runs with it to near perfection.

“Emma.” will probably be long forgotten in a few months, but it is one of the better movies released in 2020 so far. It’s much funnier than one would expect and Austen could almost be credited with inventing the romantic comedy. It’s just lovely.

By Ed Bark unclebarky@verizon.net

Forty-plus years of covering television have yielded countless close encounters with stars of the first magnitude.

Many are now deceased, but their bodies of work still breathe. So rather than relegate these experiences to the dustbin, I’m periodically bringing some of them back alive. For me they’re gifts that keep on giving. This is the second in an occasional series.

• • • Alternately known as “Uncle Miltie” or “Mr. Television,” Mendel Berlinger (Milton Berle) lived until age 93 and likely got off one last one-liner before succumbing in 2002.

“Wherever it may be, any place I can get on and talk and be funny, whether it’s five people in an audience or in a drawing room in your house, just call me,” he told his interviewer in the summer of 1981. “Or if you don’t call me, I’ll get up. Because that’s the way I’m built. I can’t help it.” Our venue was Dallas’ now long defunct Granny’s Dinner Playhouse, where patrons would dive into a buffet line before settling in for that night’s headliner. Berle was doing his standup act and we talked off-and-on during breaks from rehearsal. He sliced his 73rd birthday cake during the multi-night engagement. “Somebody asked me, ‘What’re you doin’ at Granny’s?’” Berle said. “Such a thing to ask. I wanna' work! It sounds like a cliché, but I work to live and I live to work. I could’ve retired 25 years ago, but maybe I wouldn’t be living today.”

No one was bigger than Berle in TV’s infancy. Before Lucy and Desi, his “Texaco Star Theatre” variety hour became the nation’s first small-screen sensation back in 1948. As the first mega-star of this new medium, Berle was credited with selling thousands of TV sets to people who suddenly couldn’t get through Tuesday nights without Uncle Miltie, who often appeared in drag.

Your friendly correspondent was born in the year “Texaco Star Theatre” premiered. Just five

Milton Berle

years later, it ran out of gas when Berle’s sponsor dropped out. He never hit it that big again, but never went away either. His last big chance as a variety show host lasted just 17 weeks on ABC in 1966.

“That, I was very bitter about,” Berle said. “I’ll tell ya' why. Because they didn’t give it a shot. The show was ahead of its time because it preceded 'LaughIn,' which was the same kind of show. We had the blackouts, cross outs, lots of stars. But they didn’t give it a chance.”

Berle frequently spoke in a confidential tone of voice, as if to say, “Listen, kid, this is something I don’t tell just anybody.” His famous smile often was simply a baring of the famous teeth. The upper lip rolled up like a window shade to show off what were now a polished set of dentures. He occasionally wore his glasses on his forehead and his gray hair broke out in tufts after he worked up a sweat while doing a little dancing. Or coaching the band. Or triple-checking the sound system. Or flirting with his supporting act, Dallas singer Cynthia Scott.

Above all, the show absolutely must go on.

“You’re an actor. The spotlight hits ya and ya give ‘em a smile,” Berle said, once again leaning in close. “See, if you’re born in the business, when you hear that applause and laughter, it does something to you. For that hour or so you’re onstage, your mind is away from everything. It’s like, carry on I must. And I do . . . I’m here to do crazy, escapist entertainment. That’s all I want to give them.”

Which he did on opening night, striding onstage in a blue blazer, high water gray slacks and a powder blue button-down shirt. “You want me, you love me,” Berle assured his audience before taking a few well-practiced shots.

“I remember you, lady,” Berle said. “You heckled me 20 years ago. I never forget a dress.” “I’ve got some friends here celebrating their 25th anniversary. They’re sitting there with their 26-year-old son.”

“Throw another log on the air-conditioner, will ya'?”

The one-liners, the delivery and the trademark smirks. Everything worked, which Berle knew going in.

During our earlier interview, I had the temerity to ask him, “Are you as sharp as you ever were?” “Sharper,” he said. Ed Bark, who runs the TV website unclebarky.com, is a past member of the national Peabody awards board.

By Ashley Johnson ashleyjohnsonwriting@gmail.com

Undermain Theatre’s regional premiere of Adrienne Kennedy's “Madame Bovary,” now playing at 3200 Main St., is a stunning piece of stagecraft. Kennedy's avant-garde translation of this Realist masterpiece makes this story infinitely more real. This play's emotional pacing is insistent and engaging, far more so than its prose-indulgent 400-page textual counterpart.

Kennedy has distilled this work down to its most important moments. She remains incredibly faithful to Gustave Flaubert's book, save for her choice to make Berthe Bovary, Emma's daughter, the narrator. Much of the dialogue and most, if not all, of the scenes are derived directly from the original text.

Emma Bovary hasn't got it. She hasn't got happiness, she hasn't got money, she hasn't got a son and so it goes with everything else in her life. No matter how hard she tries to get what she wants, something always gets in the way. Madame Bovary is a tragedy so complete it is a strange satisfaction to experience. At every moment, Emma Bovary loses a bit of her life and herself by trying to gain something else, and Charles does the same by attempting to gain Emma.

Stephanie Cleghorn Jasso (Emma Bovary) effectively captured the poison of Madame Bovary's earnestness. It is difficult to balance a character so concerned with the internal workings of her own mind with an external presentation, and Jasso does so with skill. Jim Jorgensen (Charles Bovary) transformed a buffoonish character into one that commanded a quiet respect. I was particularly captured

by Dakota Ratliff (Berthe) who is a brilliant addition to any movement-centric piece. I never gave Berthe a second thought during my multiple reads of this book, but Ratliff's Berthe broke my heart. Brandon J. Murphy's portrayal of the sly Rodolphe was thrilling to watch, as was Omar Padilla's presentation of Léon. These sometimes-lovers of Emma made me wonder who Emma might have been had she not been constrained within her marriage by the law of the times. Though Rodolphe, rightly, made me angry, it was Murphy's lines near the climax that haunted me long after the play ended. Padilla's excellent and earnest Léon surprised me and made me wish I knew more of his story.

It is perhaps controversial, though fair in my opinion, to argue that the villain of this play is Emma Bovary herself instead of Rodolphe. But a straightforward reading of this play reveals M. L'Heureux to be the clearest cause of Emma's downfall. Brandon Whitlock's exceptional work with this character caught and held my attention throughout the story.

Jamal Sterling's portrayal of M. Homais was strong. This character can be difficult to parse, but Sterling made him stand out. Charlotte Akin (Mm. Homais), Rhonda Boutté (Mme. Lefrançois), Amber Rossi (Felicité/Lady Lucia), Benjamin Bratcher (Ensemble) and Danny Lovelle (Servant/Justin) were excellent supporting members of this outstanding cast.

Brilliant choreography by Danielle Georgiou is the through-line of this piece. Careful, particular movement choices make even the gorgeous props (Amy Poe) in this play come alive under the touch

Jul ia DePasqual e Brandon J. Murphy as Rodolphe and Stephanie Cleghorn Jasso as Emma Bovary.

of the actors. Russell Parkman's scenic design was simple, flexible and beautiful. Under excellent lighting by Steve Wood, the stage transformed entirely from scene to scene. Choices by Justin Locklear in terms of sound design made for some of the most memorable moments of this play. I won't write more about why. You'll have to hear for yourself.

To me, the real feat of this work was to effectively collapse the modern with the Victorian, for which credit must go to

director Bruce DuBose. Therein lies the gorgeous balance of this heartbreaking play, a kind of anti-Brechtian Realism made particularly for the 21st century while never forgetting its 19th century roots.

I'll echo DuBose's words from his curtain speech: to say more would be to kill many glorious surprises waiting for you in this phenomenal production. Go see “Madame Bovary” before it closes on Sunday, March 15.