In Circles
Reviewed by Lovell Estell III
Odyssey Theatre Ensemble
Through November 10
Gertrude Stein was a poet, novelist, essayist and playwright who is generally regarded as one of the more influential female writers of the 20th century. Her style was anything but conventional, and we have her to thank for such pithy expressions as “a rose is a rose is a rose” and “there is no there there.”
The Obie Award–winning In Circles first premiered in New York in 1967 and was adapted from Stein’s 1920 composition A Circular Play: A Play in Circles by Al Carmines who composed the music for Stein’s libretto.
Like her other dramatic works (which the author preferred to call “landscapes”), it’s an eccentric piece that might not appeal to everyone. Stein is cryptic and nonsensical, and the volley of words, expressions, puns and allusions that seem to come out of nowhere can make for frustrating listening. But for those who are familiar with her work, it offers entertainment and laughs, augmented by the buzzing energy and imagination of veteran director David Schweizer.
In Circles is structured as a series dance and musical vignettes looped into each other — but which don’t seem have any connection. Each is, well, like a complete circle — a batch of enigmatic parcels as quirky as the author herself.
As the play opens, Stein (Jacque Lynn Colton) is seated center stage, alternating between periods of quiet reflection and turning the pages of a book while a character named Dole (musical director Kenneth J. Grimes) plays the piano. She is soon joined onstage by seven barefoot performers: P.T. Mahoney, Chloe Haven, Shelby Corley, Henry Arber, Ashlee Dutson, Aaron Jung, and Kyle G. Fuller. They are all attired in white, the women in dresses, and the men in a variety of pants and coat combinations (simple, but attractive costuming by Ann Cross-Farley). This makes for a visually striking contrast with a stage painted completely red.
Accompanied by Grimes on the piano, they sing and dance their way through songs with such odd titles as “Papa Dozes…Mama Blows her Noses,” “Messages are Received,” “Believe Me to Be an Offender” and “Writing to a Girl.” Grimes doesn’t miss a note during this 80-minute piece, which showcases a variety of music and dance styles. The ensemble is quite good, their performance augmented by the slick choreography (Kate Coleman). Equally impressive is Chu-Hsuan Chang’s lighting schema.
Odyssey Theatre, 2055 S. Sepulveda Blvd., Sawtelle; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; Wed., Oct. 16 & 23, 8 p.m.; Thurs., Sep. 26, 8 p.m.; through Nov. 10. (310) 477-2055, ext. 2 or www.OdysseyTheatre.com. Running time: 80 minutes with no intermission.
