Crazy Doin's Up Malibu Way

Posted by Bruce Miller
In 1959, the movie Gidget became a major hit starring Sandra Dee. The film was about a slowly developing girl (half girl, half midget, hence Gidget) who tries to get the boys on Malibu Beach to teach her how to surf. One of the boys, the Great Kanaka, is a surfing legend. His pal, Moondoggie, becomes Gidget’s boyfriend. Two sequels, Gidget Goes Hawaiian and Gidget Goes to Rome followed in 1961 and 1963.

In 1965, Sally Field made her debut as the TV Gidget, in a one-season series that went on to enjoy immense popularity as a cult hit. It also established Sally Field as a star. Gidget’s brother-in-law in the series, Peter Duell playing John, was a psychiatry student.

In 1976, Sally Field won an Emmy Award for playing the title role in the television movie Sybil. Sybil is about a young woman who suffers from multiple personality disorder as a result of the psychological trauma she suffered as a child.

Charles Busch was born in 1954, grew up on Sally Field as Gidget and Sally Field as Sybil. In 1987, he wrote the Off Broadway hit Psycho Beach Party as an answer to the question, what if Gidget and Sybil were the same girl? Psycho Beach Party is set in Malibu in 1962. The slowly developing girl who wants surfing lessons is now named Chicklet, the surfing legend is now known as the Great Kanaka, the soon-to-be-boyfriend (who is a psychology student) is now named Star Cat instead of Moondoggie. And Chicklet has a few surprises up her psyche.

I went to see Psycho Beach Party this evening at TheatreVCU. It was a crazy ride. Here’s what I enjoyed:

It was great to see a play without a serious bone in its body. Charles Busch employs a light touch as he spoofs Hollywood’s beach party and psycho movies/TV shows simultaneously. He uses the innocent background of 1960s teen flicks to skewer all the sexual mores in sight (or not in sight as the case would have been in the early 60s). My good friend Steve Perigard’s direction, likewise, is lighter than air.

I laughed out loud in several places, and the VCU student audience LOVED the play’s irreverence and tongue-in-cheek raunchiness.

From the second she walked on stage as B-movie starlet Bettina Barnes, my friend Sarah Pruden understood and exemplified the style of the piece with every ounce of her being. She nailed it from her first word to her last. Not an easy task for someone born decades after the work being spoofed.

Tommy Callan and Kyle Cornell played two young women in a completely effortless (and effective) manner. There was nothing self-conscious or campy about their performances, which seemed just right.

My buddy Richie Gregory and Dallas Tolentino had a touching chemistry as the two young men who, midst their macho beach maneuverings, discover that they’re more than just friends.

The terrific set by Adam Karvatakis established just the right sea, sand and surfer shack ambiance, and the wonderful period music (selected by Sound Designer Susan Ralmo?) served the action beautifully.

The high energy of the entire cast and the hard work of all involved made this a real crowd pleaser. Psycho Beach Party was never meant to be great theatre—God forbid—but it was a hoot and a holler and a breath of fresh Pacific air. There’s one more performance tomorrow afternoon for those who want to join in on the fun.

--Bruce Miller

Another Rave for "Children of a Lesser God"

Posted by Bruce Miller
John Porter, theatre critic for WCVE-FM, has written a glowing review of Children of a Lesser God. You can hear the review by visiting our Signature Season page, or you can read the transcription right here:
John Porter's Review of Children of a Lesser God

"Few pieces of theatre history have had the lasting impact that Children of a Lesser God has had on mainstream America. When it first premiered in the mid-80s, and when the film version was released, it had a profound effect on raising the consciousness of audiences worldwide towards the issue of deaf rights. You would have to look back to the efforts of Helen Keller to find someone who had more of an impact.

So I was curious to see how the play had held up. I had not seen it since maybe the late 80s, and I was wondering if it would appear dated and didactic. I am delighted to say that it is neither. Children of a Lesser God, now playing at Barksdale Theatre at Willow Lawn, is powerful beyond words, shattering with emotion, the kind of play that holds you in its powerful grip long after the show has ended.

Erica Siegel as the deaf and hard-to-reach Sarah Norman runs her emotions back and forth at full breakneck speed. One minute hostile, the next curious and loving, she is impossible to predict, and as such remains a powder keg waiting to explode. Some actors get into a comfortable rhythm during a performance, but Siegel never settles down, even when you think she has. Siegel delivers a bravura performance that leaves you breathless.

Landon Nagel as James Leeds has the difficult role of portraying a man falling in love while also serving as Siegel’s interpreter for the audience. He sails through these tricky waters easily, and carries much of the emotions of the show on his shoulders. Nagel is a powerful performer, and has blossomed by constant work in the area, and shows a great deal of promise for roles to come.

Other standout performances include Richard Gregory as Orin, the rabble-rouser who fights for deaf rights, Linda Poser as Mrs. Norman, Sarah’s mother, who has been hurt by her daughter and lives mostly in isolation, unsure how to support her daughter and never stopping loving her. Also Kenneth Waller as Mr. Franklin, the man in charge of the school who strives to make life better for his staff and students, but doesn’t deny the difficulty each will face in the world.

On the technical side, director Bruce Miller has chosen very strong artists. Katie Fry’s set is workable, Sarah Grady’s costumes are solid, and Lynne Hartman’s lights are perfect mood setters. At once introspective, other times straightforward, they play through the characters’ memories and evoke the proper moods at every turn.

Over the years I have been accused of only loving so-called serious plays and nothing is further from the truth. I enjoy a light evening’s entertainment as much as the next person. But when offered a deeply satisfying adult evening of theatre that makes you ask questions about the world around you, well, it doesn’t get much better than that.

Children of a Lesser God is a rare play that offers satisfying entertainment, and helps you examine lives you may not otherwise have experienced.

That's a rare evening indeed.

For WCVE Public Radio, I'm John Porter."