Truth in theater

After Ira Glass of “This American Life” took Mike Daisey to task for a theatrical monologue that toyed with the truth about all things Apple, Daisey shifted parts of his script to produce an updated take on the tale of shiny objects consumed by Americans wholly disinterested in the costs of techno-fever to those who toil in Chinese factories. For some, it seems, Daisey’s spin was tantamount to sin. He prefers to proffer it as storytelling.

Think what you will about the relative roles of fact and fiction in works like Daisey’s “The Agony and the Ecstacy of Steve Jobs.” But don’t let your stance keep you from seeing the work, which opens a new season for Actors Theare in Phoenix. It stars Ron May, whose gifts for storytelling and stagecraft are well known to Valley theater goers. It’s directed by Actors Theatre producing artistic director Matthew Wiener.

Actors Theatre has had plenty of its own agony and ecstacy of late, facing financial challenges that threatened its very existence. Seeing a half empty house during Thursday night’s performance was disheartening evidence we all need to do more of what Daisey describes as “shifting the metaphor.” Maybe we’re all a bit too smitten with our own shiny objects to see the storytellers in our midst whose lore lures us towards the future without letting the past fade.

May’s performance makes you think, and makes you laugh. It’s a rare combination in a society that prefers to seesaw back and forth between apathy and angst. Daisey may have intended the work as an indictment of our collective iStuff compulsions, but it has broader implications. I left wondering about the backstory of more than electronics — pausing to consider the journey clothing, food and other objects take from origins to owners.

For folks who haven’t followed the fanciful flights or foibles of Apple through the years, Daisey’s work provides both insights and imaginings. I can’t know how many of his garage geeks or tech freaks stories are true, but I loved watching May retrace the journey of Apple from creating purely utilitarian fare to developing technology oozing with aesthetics. Also hearing more about the religion with this creation story — In the beginning, there were two Steves….

“The Agony and the Ecstacy of Steve Jobs” is Daisey’s creative recollection of a trip made to China to see the conditions under which Apple products are made. It weaves in and out of stories about Steve Jobs and Steve Wozniak, and May’s time spent in Wozniak mode is particularly entertaining. Think master class in movement. Students of theater, folks intrigued by human nature and those who self-sort into technology tribes will be especially intrigued by the marriage of May’s acting with Daisey’s digs at American consumerism in the digital age.

— Lynn

Note: Actors Theatre presents “The Agony and the Ecstacy of Steve Jobs” through Sunday, Oct. 7. Click here for show and ticket information.

Coming up: Art inspired by “The Giver”

Eat your haggis

My favorite line in the new Disney-Pixar film “Brave” was likely lost on filmgoers who still need booster seats to view the big screen. “Eat your haggis,” suggests the queen to her red-headed triplet sons — telling them it’s just a bit of sheep guts, and really quite tasty. I once did the haggis with my husband while dining inside an old Scottish castle — thanks to an incentive trip earned during my days in sales. “Think of it as hamburger and onions,” someone told me. It was good advice.

Bravo to the makers of “Brave” for including so much Scottish lore in the story of a princess who loaths her parents’ plan to marry her off. She’d rather ride a galloping horse through the lush green Highlands, and perfect the archery honed with a bow and arrow given to her by her father. He’s a jovial, light-hearted sort — though the queen does all things with dignity and decorum.

Their daughter is a fiery redhead with an independent streak, whose encounter with a witch sparks the events that unleash her fate. The film opens and closes with musings on the nature of destiny, and is laced with other lovely messages throughout. We’re tied to the land. Some are truly led. Follow your heart. Write your own story. Real magic happens. Be brave. And remember that “legends are lessons that ring with the truth.”

There’s much to love about Pixar’s 13th film — their first to feature a female protagonist. The push and pull of mother/daughter relationships. Exquisite music performed by the London Symphony Orchestra. Subtle digs at folks who try to tell others who they can love. Even the credits — which dedicate the film “with love and gratitude” to Steve Jobs and list the first names of babies born during the film’s production.

Still, it’s the setting in 10th century Scotland that really tugs at my heart — reminding me of 20th century days spent traveling between Scotland, Ireland, England and Wales during college studies in Europe. Castles, ruins, tartans and kilts. Bagpipes and brogues. Celtic knots and the Callanish circle. Also highland games, bear folklore and more. Even characters, like princess Merida’s horse, named for people and places with historical significance.

Merida encounters several irridescent fairies called will-o’-the-wisps — the stuff of folklore in and beyond Scotland. Our daughters, now in college, loved reading Scottish folktales when they were younger — and several collections of such things are still out there for parents eager to run with the film’s Scottish vibe. Our youngest daughter delights each summer in attending Scottish-theme “Greenshows” at the Utah Shakespeare Festival in Cedar City.

“Brave” is directed by Mark Andrews and Brenda Chapman (who conceived the story), and produced by Katherine Sarafin. Andrews, Chapman, Steve Purcell and Irene Mecchi wrote the script. Music is by Patrick Doyle. “Brave” features the voices of Kelly Macdonald (Merida), Emma Thompson (Queen Elinor) and Billy Connolly (King Fergus) — and runs just 95 minutes.

Though “Brave” is rated PG for “some scary action and rude humor,” it’s less violent than most fare foisted onto families these days. Still, I’m hoping that little ones who see a character slammed repeatedly against a tree won’t feel it’s fine to shove schoolmates into lockers. Or decide to imitate the animated Scots who briefly bear their bottoms in a bit of outlandish kilt humor.

— Lynn

Coming up: The eyes have it, Photo shoot goes wild

The agony and the ecstacy

Actors Theatre of Phoenix has seen plenty of both in recent months after announcing that a huge infusion of cash would be needed to complete their current season, then deciding to move forward with a 2012-2013 season announcement though still working to raise full funding.

So it’s fitting I suppose that the first show planned for their 2012-13 season is Mike Daisey’s “The Agony and the Ecstacy of Steve Jobs.” Daisey and his play became the focus of significant controversy after NPR’s Ira Glass retracted a January episode of “This American Life” featuring Daisey and the play due to “significant fabrications” — and Daisey’s been bombarded with more bad news since.

Folks eager to explore Daisey’s own take on his work can read an article Daisey wrote that’s titled “The Sin of Activism” — published in the April 2012 issue of American Theatre magazine, which has featured works of late that celebrate its four key values — artistry, diversity, global citizenship and activism.

Turns out Daisey was trained to think of activism as a dirty word, but drifted in that direction as his work “circled more and more around the fundamental conflict between the human and the inhuman in our culture.” His article for American Theatre details the evolution of his thought, process and product.

Today he’s a converstion story. “Action is the root of theatre,” writes Daisey. “Activism is the public face of that action. We need an American theatre that recognizes this. Now more than ever.” And I suppose Actors Theatre wouldn’t mind folks heeding the call by advocating on their behalf.

Following Daisey’s “The Agony and the Ecstacy of Steve Jobs,” Actors Theatre will stage “Opus” by violinist-turned-playwright Michael Hollinger — which imagines a string quartet preparing to perform a hefty bit of Beethoven at the White House when the erratic behavior of their resident genius necessitates that someone else  (who’s younger, less experienced and female) take his place. Think rehearsal room as pressure cooker.

New is next to godliness at Actors Theatre, and thank heavens for it. Next up is “The Fox on the Fairway” by playwright Ken Ludwig — described by Actors Theatre as “one of America’s greatest living writers of farce.” Ludwig is well-known to theater folk for writing “Lend Me a Tenor” and “Crazy for You.” But now, it seems, he’s turned his attention to “one man’s eternal love affair with golf.”

Also “A Steady Rain.” This baby was written by Keith Huff, lauded by Actors Theatre for helping to write and produce a little something on AMC called “Mad Men” — which Huff says he’s left behind to pursue other projects. “A Steady Rain” follows a pair of Chicago police officers whose mutual loyalty is tested when an unfortunate decision begets guilt, fear and corruption.

Actors Theatre plans to close its 2012-13 season with “Good People” by playwright David Lindsay-Abaire, whose “The Rabbit Hole” won the 2007 Pulitzer Prize for best drama. It’s the tale of a single mother with a special needs daughter who moves to the suburbs in search of new opportunities after losing her dollar store gig. “Good People” was nominated in 2011 for a Tony Award, the year “War Horse” went home with best play honors.

Turns out there’s a lovely piece about “Good People” and Lindsay-Abaire in the current issue of American Theatre magazine as well. It’s penned by Christopher Wallenberg, who details the playwright’s own working class roots and growing realization that new American plays weren’t reflecting the real struggles of folks to make it in a land that sometimes fails to deliver on its promises.

New is nifty, but relevance rules — and it’s something that Actors Theatre of Phoenix is nearing nicely with its 2012-13 season, which reads more “everyday” than “high art” during a period in American life in which few can afford time with theater experiences that feel more luxury than real-life. Let’s hope that Actors Theatre has accurately gauged the pulse of its audience, something absolutely essential to keeping their own heart beating.

— Lynn

Note: Click here to learn about the May 10 movie theater broadcast of a live on-stage performance of “This American Life” (complete with dance and other fun things you can’t see through a radio) — and here to learn about Annie Baker’s “Body Awareness,” being performed by Actors Theatre through April 15.

Coming up: Photography on the fly

A celebration of life!

Stilt walkers from the Taylor Circus performing at a Mesa Arts Center festival

 

Remember that you have me…. by Felipe M. Carranza

 

Grand Memories by Erica Lucci and Chris Altman

 

Inspirational Memories by Socorro Hernandez

 

The Daughter of Time by Skye Wilster

 

Detail of an offrenda in the “Adorned in Memories, Written in Stone” exhibit

 

A work by Moisés, designer of this year’s print for the CALA Alliance Festival

 

Ganas O Muerte by Ernesto Yerena

 

A sampling of unique items available for purchase at XICO gallery in Chandler

 

Part of the Loteria Series by Lalo Cota

 

Proof that the folks who give “Best of” awards need a category for best floor

 

Giant Katrina puppet commissioned by Xico gallery for El Dia de los Muertos

 

— Lynn

 

Note: Works of art were photographed at Burton Barr Central Library in Phoenix and Xico gallery in Chandler. Xico carries several Day of the Dead books, as well as a coloring book, for children — and is presenting a free El Dia de los Muertos festival on Sat, Nov. 5. The library’s “Adorned in Memories, Written in Stone” exhibit of artist-made altars runs through Sat, Nov. 5. Click here to learn more about the Taylor Circus, here to learn more about Mesa Arts Center and here to learn more about CALA festival events.

 

Coming up: A blast of blue!