By Jef With One F
By Pete Vonder Haar
By Abby Koenig
By Olivia Flores Alvarez
By Jef With One F
By Christina Uticone
By Angelica Leicht
By Altamese Osborne
In Washington, Ken Starr, Bill Clinton and Monica Lewinsky may have momentarily cornered the market on political drama (or farce, depending on your point of view), but here in Houston, we've got our own version of governmental theater. True, ours may not be as hot, saucy and downright dirty as what you're seeing on your television every morning, noon and night, but both Stages Repertory Theatre and the Ensemble Theatre are currently running plays that might actually offer you some real food for political thought.
Stages' world premiere production of Ascendancy, by Gary Bonasorte, examines the AIDS epidemic as it stands two decades after it began. This play is yet another in a long succession of works about the AIDS crisis -- which, in some people's minds, may not even seem like much of a crisis anymore, what with all the new drugs and hopeful sound bites of information. But though there are new chemical cocktails and new hopes for AIDS sufferers, death and loss remain ever present, and the politics surrounding the drugs have brought with them a brand-new set of struggles. For these reasons, and because it has a crackerjack cast, Ascendancy, though struggling in places, succeeds in offering a worthy, even moving, view of what it means to struggle with death, loss and AIDS in the late '90s.
The plot isn't much. We follow three characters -- a straight hemophiliac (Jimmy), a strident bisexual woman (Maria) and a gay man (Nick) who loses his lover (Robert) -- through the machinations of a drug trial. The author, who co-founded New York's Community Research Initiative on AIDS, utilizes his insider knowledge to give the dialogue concerning the ins and outs of drug companies and drug trials terrific veracity. But the drug trial is almost secondary to the struggle his characters go through as they, and the people they love, try to reconstruct a way to live, knowing, in a visceral way, that they will die, and possibly very soon.
The AIDS clinic in which the play is set is run by Jason Armstrong, a burned-out receptionist who blabs on the phone endlessly; Kate McCleary, a nurse who impatiently questions hopeful drug-trial applicants; and Dr. Holland, who appears to have a heart molded from cement. At first these characters seem so flat as to be almost cartoonish -- catty-fey receptionist, by-the-book nurse, wicked-wealthy doctor -- but eventually they peel away their public personas to reveal private and sometimes surprising histories. Each has suffered enormous loss. These revelations are some of the play's best moments. They challenge us to reexamine the way in which we construct our worlds and construct our truths -- about each other, about ourselves, about living and dying. Indeed, Ascendancy asks us to question our very notions of the boundaries between life and death.
Besides having the characters slowly reveal their stories, Bonasorte utilizes two other strategies to discuss the idea that things are not always as simple as they seem. First, there's a guru-ghost who keeps popping up to give people hope at hard moments, a conceit that is tired at best and hackneyed at worst (though Joel Sandel as the ghost does a fine job with the role he's been given). To make matters worse, the ghost runs around uttering ridiculous sentiments such as "love is life" like a reject from a yoga video. This kind of soap-box didacticism is disappointing from a production that is otherwise rich with original ideas.
One example of that originality is a talking stove at center stage. It seems that the stove in the clinic's lounge is hooked up to a gas line that runs straight to Texas. This stove becomes a conduit to a world of poetry and joy for Kate, the heartsick nurse. The idea is so downright loony that it eventually works, both metaphorically and comically. Clearly, a woman reciting poetry to a stove that talks back is ripe with comic potential, and as Kate, Anne Quackenbush mines that potential for all it's worth. Even more interesting, though, is the insinuation that the world is full of surprises. Here, the play's message seems simply to be that we can find (or make) meaning in the most absurd of circumstances and in the most difficult of places. Faith is a good thing, and is powerful even when we look silly having it.
Quackenbush, who carries the weight of the show as the leading lady, is supported by a fine cast that includes Robin Burke as the gabby receptionist; Bryan Bounds as Jimmy the nice-guy hemophiliac; and Allisa Alban as the tough-talking (if a little too earnest) Maria.
Not everything in Ascendancy works: The set is decorated with backlit transparencies of such things as an armchair and flowers, images that are both distracting and too obvious in their meaning, and all the actors needed some refinement of their more dramatic moments, which were often wailed in a high-pitched, one-note delivery, accompanied by pounding or clenched fists.
Still, the play is promising: It's funny and, at times, moving. Bonasorte reveals himself to be a playwright with a tender and loopy imagination.