REVIEWS: ‘The Hand,’ ‘Pippin,’ ‘Abe Lincoln,’ ‘Sexy Romp’

Mano a mano: The Hand

Two men — one showering naked — share an uncomfortable silence during their morning rituals in the bathroom. “When are you leaving?” one asks. Maybe it’s a trick gone bad.

But the other man — the poorer one — has no intention of leaving. Not without the rich man’s hand.

The Hand, a world premiere translation from Broken Gears Project Theatre, is a juicy, rather simple, short (45 minutes!) allegorical play, though what exactly it is an allegory for I’m still not quite sure: The poor man is missing his hand, having sold it to the rich man’s doctor three years ago for a transplant. Only now he wants it back. Class warfare? Obamacare? The idea of men touching each other with the same mitt but not being gay?

Actually, there’s an undeniable homoeroticism to the show as the men spend all the time wearing towels in bathroom. It’s especially apparent when Joey Folsom plays the rich man with a fey, continental air. (He and co-star Jeff Swearingen swap roles for each performance; during the final week, they will actually mount the show as a twofer: Act 1 with one cast, then followed by Act 2 with the roles reversed.) When Swearingen says to him, “I’ve come to ask for your hand,” you wonder if they’re living in Massachusetts.

(During the recent Horton Foote festival, Folsom appeared in a one-act playing a man who lost his arm to a thresher and demands justice from his employer. This is a weird companion piece to that.)

This is absurdist theater with a sickly twisted sense of humor: Waiting for Godot as directed by Quentin Tarantino. (Director Andy Baldwin even kicks it off with Tarantino-esque mariachi music.) It’s a deliciously evil mindfuck of a play, part Sleuth, part Bunuel film, where the concept of “a pound of flesh” takes on an odd meaning. It’s a great capstone to Broken Gears’ second season, where they have continued to reconfigure their space for a diverse slate of plays.

The three men involved here — Folsom, Swearingen and Baldwin — invest tremendous energy in this one-act, which gives it a momentum that is shocking and refreshing, like plunging your face in ice water. Give these guys a hand.

— Arnold Wayne Jones

3819 Fairmont. Through June 25. Folsom plays the rich man June 11, 14, 16 and 18; Swearingen play the rich man June 10 and 17; they will do two performances a night with each cast June 22, 23, 24 and 25. $15. BrokeanGears.weebly.com.

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Cirque du so lame: Pippin

The opening number of Pippin is called “Magic to Do.” Here’s thing: If it’s not magical, you’ve lost the audience for the rest of the show. (“Come and spend an hour or two,” is one of the lyrics; opening night got close to three hours. And still no magic.) It needs to wow you. But the circus-inspired production now at Theatre Three is played as if the entire cast had Epstein-Barre syndrome and had just decided to show up for a rehearsal. It’s on quarter-power at best. And with all the garish costumes and paste-white face paint, it feels more like the slo-mo feverdream on a mind-addled opium addict than a play.

It never recovers from the false start. Pippin is a part of a genre of musicals, popular in the early 1970s, that tried to take classical or historic stories from antiquity and gussy them up with Hair-like pop-culture relevance and a rockish score: Cyrano, The Two Gentlemen of Verona, Candide, Godspell, Jesus Christ Superstar. They were all fine in their day, but once Chicago opened and turned a modern eye on the circus-atmosphere of the past, they immediately seemed dated, like a watching silent film in 1945 or making one in black and white today. With the possible exception of Candide, none are true classics (the latter two have staying power beyond their warrant). Despite a few passable songs (“Corner of the Sky, Just No Time at All,” “Spread a Little Sunshine”), Pippin really isn’t in need of a revival as much as a wake.

It feels like it is getting that. N. Wilson King, in the gender-bending role of Leading Player, is vocally unsuited for the part. She has a rich, gospelly voice, but not the Broadway-pop range to get the crowd going, as if Marlon Brando were playing a high school cheerleader. As Pippin, Max Swarner acts out every lyric with broad gestures, as if appearing in a children’s theater production of Green Eggs and Ham. It’s not his fault; director Bruce Coleman should have reigned in such limp choices, just as he should have tapped into King’s sense of fun.

Lee Jamison perks up Act 2; she has a strong comic sense that fits into the presentational style of the show. Bradley Campbell is fine as Charlemagne, and LisaAnne Haram gives a kicky rendition of a dotty grandma, but these are islands of competence floating in a sea of wrongheadedness.

A few weeks ago, Dallas Theater Center mounted a revival of Cabaret, creating a shabby, gaudy memory of a culture in decline that burrowed under your skin. There’s nothing intentionally unnerving about this version of Pippin — it’s just ugly and dull.

— AWJ

Theatre Three, 2900 Routh St. in the Quadrangle. Through July 2. Threatre3Dallas.com.

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Planet of the Abes: Abraham Lincoln’s Big Gay Dance Party

Four score and seven years may be the most famous lapse-of-time reference in history, but two hours and forty minutes seems like a close second. That’s the running time (not including two intermissions) of Abraham Lincoln’s Big Gay Dance Party from Level Ground Arts. This is one really, really long comedy. But you know what? It’s filled with so many pleasures and moments of delicious subversiveness that, other than a severe case of numb-butt, it’s not a bad trade.

This is a bare-bones production, with set pieces made of foam core. That’s not a jab — these days, some people don’t feel like it’s real theater unless a chandelier comes crashing over their heads or Spider-Man stunt doubles go spiraling toward near-death. Sometimes less is more.

The show is enhanced by a skilled young cast. It’s all about solid performances, a daring, sometimes-moving script and some old fashioned experimentation. The plot is surprisingly intricate. It all starts with a children’s holiday pageant about Santa Claus getting a presidential pardon. When one of the children (apparently played as special-needs, which is completely unnecessary) spouts off about Abraham Lincoln’s love of another man, the teacher is vilified by the conservative Illinois town and put on trial for indecency.

What follows the setup is far more interesting. Big Gay Dance Party presents the same story from three characters’ perspectives. Through the democratic process (natch) an audience member is chosen to select which character’s version we see first. So, theoretically there are six different ways the plot can unfold. It’s fascinating. The entire third act, I found myself wondering what the show would’ve been like had that one been first, or even second. All in all, it’s an enjoyable mechanism that fills in plot mysteries like pieces fitting snuggly into a puzzle.

Between scenes, during set changes, and just about any time they feel like it, the cast busts a move—sometimes with elaborate choreography and matching stovepipe hats and beards. This is a big gay dance party, after all. Glow sticks, sadly, are not included.

— Steven Lindsey

KD Studio Theatre, 2600 N. Stemmons Freeway. Through June 25. Fridays–Saturdays at 8:15 p.m. $20. LevelGroundArts.com

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Logo, your next sitcom is ready: Outrageous, Sexy (Nekkid) Romp

Alejandro de la Costa’s Outrageous, Sexy (Nekkid) Romp, MBS Productions’ latest show, could well be a pilot pitch for a TV sitcom. They could approach Logo with Two Gays and a Girl, or maybe Our Fairy Dragmother … but as a play … well, it’s complicated.

De la Costa wrote a semi-complex farce about relationships for a cast of four. He pits male couple Casey (Andrew Bryan) and Keith (Philip Gage) into an emotional whirlwind of a night. Drag queen friend Lovely Uranus (Sonna) is moving in temporarily, and happens to have hitched a ride with Casey’s ex-girlfriend, Lara (Emily Murphy). Yes, girlfriend. Upon Lara’s arrival, Keith is confused by his attraction and constant hard-on when she’s around. Could he be straight? Bi? Do we care?

Well, yes and no.

Set in the couple’s apartment, we’re introduced to the boys waking up to coffee and some potential morning sex. It doesn’t happen as Lovely is early with her belongings and Lara. Sure the coincidence is unlikely, but easy to ignore as merely plot device. Other things weren’t.

For whatever reason, the cast was clearly off this night. They flubbed several lines or ad-libbed to maybe cover up some forgotten ones. These nights happen, I get that, but a week into the run, you expect more mojo.

The chemistry of the male couple never coalesces. Even that Bryan and Gage come off wooden, they were at least awkwardly convincing as an item in the first half, albeit minus any nuances. Those charms somehow devolve completely in the second act. In the blowout after Casey and Lovely discover Keith and Lara having sex, arguments ensued that played like an acting workshop rather than a fighting couple. The closed lip kisses and strange hugs didn’t help, either.

Lovely Uranus is not the most glamorous of drag queens, but Sonna made the most out of facial gestures, lots of makeup and some really short lingerie. It didn’t make complete sense that he’d be in drag while moving, but it wasn’t a distraction.

Lovely is the loud conscience of the show, but not always successfully. Sonna’s big monologue veers into a somber, dramatic moment, but he nails it with delicacy that doesn’t stray too far from Lovely’s outlandish persona.

Two things really kept the play afloat for me. Despite the flubs, de la Costa’s clever script is conceivably ready for prime time. The wit is there, as is substance. He wrote a play that ultimately isn’t just about a gay guy having sex with a girl and the shenanigans around it. He brilliantly weaved a story that looked at how relationships are defined and the fluidity that goes with them (or maybe needs to go with them). He fit in discussions on open relationships, gay/straight labels, single versus partnered and even the sex appeal of drag without stuffing it in. One political jab disturbed the flow, but otherwise, de la Costa created a gem.

The second was the luminous Emily Murphy, a stunning actress with a body to die for. She’s part sexual predator, part bitch, but she puts it behind a smile. Lara has ulterior motives but also doesn’t confuse sex with feelings. Murphy delivers on all fronts in commanding fashion.

Romp unexpectedly had something to say. While some of the acting didn’t make strong impressions, I couldn’t get a lot of what de la Costa had written out of my mind. And that made it worthwhile.

— Rich Lopez

Stone Cottage Theatre, 15650 Addison Road. Through June 18. $18¬–$22. MBSProductions.net.

—  Arnold Wayne Jones

Starvoice • 05.20.11

By Jack Fertig

CELEBRITY BIRTHDAY

Pam Grier turns 62 on Thursday. The iconic actress helped defined the blaxploitation film movement of the ’70s with Coffy and Sheba, Baby. She resurfaced in Quentin Tarantino’s Jackie Brown which she followed up with her role as the fun-loving Kit Porter in the lesbian drama The L Grier1Word. She came to Dallas last year to promote her bio Foxy: My Life in Three Acts.

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THIS WEEK

Pluto and Eris, both in hard aspect to the sun, bring out everyone’s competitive streak, crank up the stakes and complicate the struggle. Communication is the key, which means you have to listen very carefully.

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GEMINI May 21-Jun 20
You’re sexy as hell. So what? You really need to buckle down to work and think hard about the future. You may not like what your friends are telling you, but they have good advice. Pay attention.

CANCER Jun 21-Jul 22
Your imagination is a trap sucking you away from much needed work, but it’s also a powerhouse to fuel your ambitions. Stay focused. Your partner is there when you need attitude adjusting.

LEO Jul 23-Aug 22
Get ready to lose an argument. Getting rid of something you’re sure of can be the best thing that could happen. Deluxe bonus: Being an open-minded good sport will be mighty sexy.

VIRGO Aug 23-Sep 22
Achieving your goals takes some shrewd maneuvering. Be careful whom you trust. Your mate has helpful insights, even if they are sneaky. Better ideas come while away from work.

LIBRA Sep 23-Oct 22
Explore new ideas to your health regimen. Competitive sports help keep you healthy. Competing with yourself counts. Keep it cheap. A library book can be better than a gym membership.

SCORPIO Oct 23-Nov 21
Verbal aggression helps you get ahead. A little creative writing —journaling, imagined dialogue or a short story — can help you find the words you need.

SAGITTARIUS Nov 22-Dec 20
If you’re looking for true love, get involved in an arts program and let go of expectations. Keeping a love you have will require abandoning expectations and working some of your creativity.

CAPRICORN Dec 21-Jan 19
You come off way too strong in a turf war. The resulting argument exposes old resentments but starts a healing process. Well, it could, but that won’t be easy.

AQUARIUS Jan 20-Feb 18
Struggle between your deepest desires and economic necessity feels brutal. A light, playful conversation with your partner  can help you find a way to afford your dreams, or find reconciliation.

PISCES Feb 19-Mar 19
A siege mentality at home will not solve any problems, and instead make them worse. Same old tactics get same old results. Keep your mind on long-range goals and entertain new ideas.

ARIES Mar 20-Apr 19
Clear the air and get something off your chest, but how you do that can make motivations look nasty and bring similar results. Confide in your partner, or look for guidance from your boss.

TAURUS Apr 20-May 20
Give yourself room to vent. Everyone’s feeling the pinch. Economic problems are everywhere, but holding the pressure in and stewing silently only undermines your ability to cope.

Jack Fertig can be reached at 415-864-8302 or Starjack.com

This article appeared in the Dallas Voice print edition May 20, 2011.

—  Kevin Thomas

Movie Monday: Heads will roll in ‘Machete’

‘Machete’ succeeds in B-movie glory

Some elitists used to think the ”B” in B-movie stood for bad.  Well, they weren’t out to win Oscars.  They were just lower-budgeted pictures without big stars and some of them were more fun than their more expensive brethren. Quentin Tarantino and Robert Rodriguez have made it their mission to bring back the Bs, bigger and better than ever.  The results have been mixed but still reach a pinnacle of sorts with Machete, expanded by Rodriguez and company from a fake trailer in the 2007 release of Grindhouse which featured a classic double-bill of Death Proof by Tarantino and Planet Terror by Rodriguez.

Like Russ Meyer’s films Machete works on two levels.  It has enough boobs and booms to please fans of cheap action movies, but others will see it as a hilarious spoof of that genre.  Like Avatar, it has a liberal political message that may go over conservative heads.

For the full review, click here.

DEETS: Machete starring Robert DeNiro, Jessica Alba, Danny Trejo. Rated R. 105 minutes. Now playing in wide release.

—  Rich Lopez

Pam Grier talked movies, relationships and even ‘The L Word’ on Saturday in South Dallas

In the triple-digit heat, Pam Grier proved she still has drawing power. Her book signing event filled the auditorium Saturday at the South Dallas Cultural Center, where she talked about her life and Hollywood and followed up with a gracious and patient book signing/photo session.The gay contingent present was far outweighed by the men and women who obviously watched Grier throughout ’70s cinema.You could literally see the men falling in love all over again with Foxy Brown and the women remembering the heroics of Coffy as inspiration.

She ran a bit late, but Grier received a standing ovation upon coming out. She looked both casual and elegant as she took the mike. I overheard earlier that she would be reading from her book, but instead she just let loose and began talking about her life. As a speaker, Grier was a little disorganized. She went on tangents about organic gardening and the economy. There were mini-moments where she had lost the audience, but magically, she would tie it back to her career and get back on track. She discussed her romances with Richard Pryor and Kareem Abdul-Jabbar which are also in the book. She was never salacious about her recounts. Instead, she painted quirky, funny memories of her with Pryor and detailed some major inner conflict with Jabbar’s request for her to convert to Islam. When it came to her own life, she painted distinct pictures.

Ears pricked when she discussed film director Quentin Tarantino and their film Jackie Brown. After her initial meeting with him, he told her he had a script. Later, she received a notice from the post office that a package was waiting for her but 44 cents postage was due. She got around to picking it up three weeks later and discovered the script. She read it and loved it. She acknowledged that it was going to be low budget because “heck, it didn’t even have enough postage!”

During her speech, she didn’t mention her role as Kit on The L Word, but for that matter, didn’t discuss a big chunk of her acting work, but thankfully a woman asked about the role. She reiterated much of her answer in Mark Lowry’s article this week that she got much of her LGBT education from doing that show and how enlightening it was for her. It was nice to hear her talk up lesbians in a positive fashion to a crowd in which the topic might not have come up otherwise. Some heads nodded, some wondered and some shut off — but it was moving to see a celebrity admit to not knowing much about LGBT issues and people and then embracing it. On a personal note, she seemed to dig that I asked her to sign for my boyfriend.

She was funny, she was cool, she was down but by the end of the event, Pam Grier wasn’t just an iconic celebrity — she was also a regular person. And that made her even more foxy.

—  Rich Lopez

Grammys Live Blog: Tarantino is embarrassing, Lil Wayne plays with red

Middle-aged Tarantino talking hip-hop in a bad Elvis impersonator outfit is even embarrassing for this Latino. Is the iTunes version of this song unbleeped? I think I’ve heard oh about 30% of this song. Although I feel better that Jamie Foxx and I both use Flip video. Because I roll like an Oscar winner.

I’m an Eminem fan so it’s kinda nice to see him back. I forget what Lil Wayne’s red hankie on the right means.

—  Rich Lopez