The first of many impressive technical and performance stunts in the Los Angeles premiere of Wish I Had a Sylvia Plath by Edward Anthony comes at the very beginning. I don’t want to give it away, but it involves the protagonist, Esther Greenwood (Amy Davidson), awaking from her own death, as if she were dreaming and suddenly remembered she left the oven on (there’s a hint).
Esther is not Sylvia Plath, but they do share a lot in common. For one, Esther Greenwood is the name of the heroine in Plath’s semi-autobiographical novel The Bell Jar. They’re both repressed writers in the 1950’s/early 60’s, frustrated with the very idea of womanhood, motherhood, and society in general. And they’re both married to asshole poets with tendencies toward infidelity.
Wish I Had A Sylvia Plath explores the life of Esther, in the moments of (or possibly in) her death through her own words and poetic machinations. The refrain she often returns to in these varied fantasies and half-memories is a kind of Martha Stewart-style home and garden television program, cleverly entitled ‘The Tome and Garden Show.’ In this show, she goes about explaining how to cook such exotic cuisines “52-liar lasagna, a black-tar brain soufflé and a perfect life.”
As an actress, Davidson doesn’t just do heavy-lifting, she does speed-heavy-lifting. She doesn’t allow herself the moments of melodramatic self-congratulations typical of most one-person shows. She doesn’t have time for all that. She’s dying, and we can feel it. Yet even in her death, Davidson cranks her with life. Her Esther is at her best when she is at her most physical. At one point of pure madness, she arms herself for battle with a pasta strainer helmet, a spatula sword, and a kitchen-table shield. The humor is there already in Matthew McCray’s direction, but the spirit is in the performance.
And though Davidson is the only actor on stage the entire 70 or so minutes of this darkly humorous rant, it is far from a one-woman show. Adam Flemming, a multi-award-winning video-designer provides many of Esther’s hallucinations with impeccably timed projections of her mother criticizing her baking methods, her father on his death-bed, and most wrenching, her husband confessing his sins. Lighting designer Dan Weingarten, sound designer Joseph Slawinski, and scenic designer David A. Mauer also all deserve their praise. Thanks to them, Esther’s kitchen feels like Pee-Wee’s Playhouse version of death, and one that you don’t mind breathing in for a while.
My only critique of this highly enjoyable production—and it is a production—is that its own production sometimes takes away from the possible depth of the situation. Esther and her playhouse are so animated, and the demands of time are so stringent that occasionally, a self-congratulatory moment might be welcomed. Plath once wrote to her mother that The Bell Jar was her take on “how isolated a person feels when he is suffering a breakdown,” and frankly, Esther doesn’t seem that isolated.
Nonetheless, it’s a show not be missed, whether you’re a theatre techie, an acting nut, or simply a person who wants to see a show that teaches an important lesson, which is that death is most certainly not the end of life.
- By Joshua Morrison
Wish I Had a Sylvia Plath, a Rogue Machine Production, runs at The Lounge Theatre, located at 6201 Santa Monica Blvd. until April 17th. For more information and to order tickets, please visit www.roguemachinetheatre.com.
Tags: Adam Flemming, Amy Davidson, Dan Weingarten, Edward Anthony, Joseph Slawinski, Matthew McCray, Rogue Machine, Sylvia Plath, The Bell Jar, The Lounge Theatre, Wish I Had a Sylvia Plath
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