‘B’way Our Way’ takes it up a notch; ‘Language of Angels’ best left unheard
ARNOLD WAYNE JONES | Life+Style Editor
I kind of miss the old Broadway Our Way, Uptown Players’ annual comedy-musical showcase that served as a season-kickoff and fundraiser for the gaycentric theater troupe. When the company performed at the Trinity River Arts Center in a 120-seat auditorium, there was intimacy and love as local actors, musicians and directors volunteered their time with limited sets and costumes to put on a show the old-fashioned way.
Now that the show (like all Uptown shows) is performed at the historic Kalita Humphreys Theater, there’s more gravitas and less camaraderie. It’s not just a fundraiser; it’s An Event.
When you walk into the latest incarnation, Divas Rising, you can’t help but be impressed by the monster set, the use of the giant lazy susan stage, the many costumes and two-dozen performers. It’s a true production.
We can lament the all-in-this-together quality falling by the wayside, but we have to acknowledge how important it is for Uptown, in its 10th season, to have come so far so fast. This is slick theater — and still mounted, as a labor of love, by the talent onstage and behind the scenes — as usual, Andi Allen wrote and directed, with hip parodies of Glee and a swishy camp sensibility that plays well with the mixed audience.
Among the performers are some of Dallas’ best, who sing songs originally written for members of the opposite sex. That allows Wendy Welch to soar on the (now-lesbified) love ballad “Johanna” from Sweeney Todd and Rick Starkweather to jerk unexpected tears from my eyes on “I’m Not That Girl” from Wicked. It gives Natalie King a perfect-fit 11 o’clock number in “Memphis Lives in Me” and host Paul J. Williams free rein to vamp with the audience as Sister Helen Holy.
This year’s version of BOW is perky in Act 1, downbeat in Act 2, but then, like Glee, it ends with “Don’t Stop Believin’.” We believe guys;
we still believe.
If BOW keeps it light and gay, Language of Angels, in the appropriately cavernous space at Theatre Too, is dark as night.
The premise is intriguing: While out with friends, a teenaged girl disappears in the labyrinth of caves in the North Carolina mountains. Was she killed? Did she slip? Or did something else entirely happen to her? And why?
These kinds of mysteries are perfect grist for drama, from The Girl with the Dragon Tattoo to the new AMC series The Killing to Peter Weir’s allegorical film Picnic at Hanging Rock. It’s OK for these stories to luxuriate in the unanswerable, to raise existential questions and challenge us to understand.
Language of Angels does none of that, though it tries — oh, how it tries. It’s a muddle of naïve and conflicting ideas told out of time with deep pretension.
Playwright Naomi Iizuka is so fond of her own sense of language, she makes her characters say things they never would. (One beer-swilling mountain boy describes the “fuchsia” accents on his girlfriend’s tattoo; I doubt even the gay boys in Carolina say fuchsia, for crying out loud.) And it all takes place in near darkness. I doubt even the enhanced interrogation techniques usedat Gitmo to squeeze bin Laden’s location out of Taliban loyalists could be more excruciating than the first half hour of this play.
This article appeared in the Dallas Voice print edition May 13, 2011.
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