Meanwhile back in Berkeley, California, today is the closing performance for the Shotgun Players production of Our Town. I was very pleased to be in the audience for this show on New Year’s Eve, and had meant to write about it here sooner… but it feels appropriate to give it a tip of the hat at the end of its run. Bay Area audiences were receptive to this particular version, as it extended two weeks from its original engagement and reportedly packed the houses throughout the run.
I knew going in to the show that director Susannah Martin (a past colleague) would probably bring her characteristically spare yet precise staging quality to the text. Surprisingly, as a native New Englander, this was my first time seeing the play live onstage. And the “once something comes into your life it reappears very soon” rule seems to be in full effect, as I will see it again in about a month in a high school production that a family member is directing, and am looking forward to comparing the similarities and differences.
This was a perfect play to close out the old year and bring in the new, with its themes of life and death and life events and the simple things that may or may not give way to big impact. It was the centerpiece of my short yet memorable visit back to the Bay Area itself, and I found myself appreciating the chance to take a moment and intellectually engage, in the midst of racing from place to place and attempting to cram as much as possible into a two day span.
The cast offered impressive ensemble work, led by Madeline H.D. Brown as the stage manager. I was initially drawn to seeing the piece after learning that theatre friends Molly, Don and Tim had central roles in the play, and they were supported by a skilled group of fellow performers, with El Beh a particular standout as Emily Webb. Again, like life itself, the play offered little snippets of events coming together (and in some cases falling apart), changes in families, questioning choices, regrets, delights, marriages, births, deaths, new beginnings and a sense of resiliency. Martin’s staging heightened the sense of everyday life, with the actors performing on a mostly bare set and occasionally sitting in or amongst the audience if they were not part of an onstage scene.
I deliberately chose a first row seat when I booked my ticket for the show, but I did not expect the side effect of intense and visceral engagement with the piece, and the art of telling a theatrical story, to come as a result of being right there with the action and the actors. As it was I found the play and the whole theatregoing experience that night to be a potent, inspiring and motivating reminder of what it is that we do as theatre/arts makers and why we do it. I’ll be continuing to remember that as 2015 unfolds.