My second trip to the 59E59 Theaters last month was for Bette Davis Ain’t for Sissies, one
of the entries in East to Edinburgh, an
annual series of plays from North American companies before they make
the journey to the largest cultural festival in the world, the Edinburgh
Festival Fringe in August. The 2015
edition of East to Edinburgh ran from 7 to 25 July in Theaters B and C. (For a brief background on the 59E59
Theaters, see my ROT report on Summer
Shorts, posted on 12 August.)
Held each July, East to Edinburgh started in 2004 “as a way
to help shows get on their feet before traveling to Scotland, simulating the
same production constraints as the Edinburgh Festival Fringe but in a clean,
comfortable and nurturing space to fine-tune their productions.” As at Edinburgh, the programming is not
curated and the technical productions are kept minimal. The 2015 festival featured 17 productions from
around New York and across the U.S.
Bette Davis, written and performed by Jessica Sherr and directed by Antony
Raymond, ran at 59E59 on 8-10,
15-16, and 21 July (it played in both 59E59 houses) before moving first to
Rochester, New York, for a short run and then to Edinburgh in August; in
October, Bette Davis is booked in Hopewell, Virginia. Sherr’s one-woman performance piece began
life in 2010 as part of a 30-minute show called The Redheads, which she
had also authored. Sherr rewrote the
piece and Bette Davis Ain’t for Sissies débuted in 2011 at the New York
International Fringe Festival. (The
title, for those who don’t recognize it, is a parody of a line attributed to
Bette Davis, “Old age ain’t for sissies,” which she’s quoted as saying in a
number of interviews in her later life.
The wording, of course, may vary and many other luminaries have used the
line over the years as well.) Bette
Davis went on to several short runs in cabarets and small theaters, mostly
Off-Off-Broadway, in New York City in 2011-2013, including 59E59’s Off-Broadway
East to Edinburgh program in July 2013 (and then again in 2014).
Sherr’s playlet has
played at the Edinburgh Fringe previously in 2013 and 2014, followed in both
instances by limited runs at St. James’s Theatre in London. In between trips to the U.K., Bette Davis
Ain’t for Sissies was seen at the Michael Chekhov Theatre Festival in Ridgefield, Connecticut, in
September 2013 and at the IRT Theater in Greenwich Village in October
2014. Though Sherr, a Southern
Californian with a BA in English and Dramatic Arts from the University of
California, Santa Barbara, has done other work as an actor—her most prominent
is probably a featured role in the 2014 remake of Annie—her principal
occupation seems to be touring Bette Davis. Her program bio states that she’s “always had
a love of the 1930’s and 40’s,” which led her to Bette Davis. Given her preoccupation with her one-act
personification, you might even call it an obsession.
Diana and I attended the Tuesday, 21 July, performance of
the 80-minute, one-act Bette Davis Ain’t for Sissies at 8:30 p.m. in Theater C, 59E59’s
50- to 70-seat black box, variable-seating space. The performance had general admission (no
reserved seats), so the box-office staff recommended arriving early even though
theatergoers weren’t admitted to the house (or even the third floor) until
quarter or even twenty past the hour. (59E59
publicity admonishes that “all shows begin promptly at their advertised time,”
which turned out to be relatively accurate.)
The play’s set on 29 February 1940, the night the 1939
Academy Awards are being handed out. Thirty-one‑year‑old
Bette Davis has been nominated for a Best Actress Oscar for Dark Victory and Vivien Leigh has been
tapped for Scarlet O’Hara in the blockbuster hit, Gone With the Wind. The Los Angeles Times, however, released the
winners’ names before the actual ceremony—and Leigh had won the Oscar. Rather than sit at the banquet in the Coconut
Grove at L.A.’s Ambassador Hotel, Davis decided to go home so her
Hollywood friends and rivals wouldn’t see her obvious disappointment. (Davis had won the year before for her
performance in Jezebel and in 1935 for Dangerous.) Bette Davis Ain’t for Sissies unfolds in Davis’s boudoir where she makes
and takes phone calls, recalls memories of her Hollywood (some of which haven’t
actually happened yet) as well as her pre-movie life with her mother, “Ruthie,”
and on Broadway, and talks to us (whoever we are sitting in her home).
Overall, Bette
Davis is unimpressive. I’m not a fan of so-called monodramas—there
have been exceptions: Clarence Darrow (1974) with Henry
Fonda and Gertrude Stein Gertrude Stein Gertrude Stein (1979) with Pat
Carroll—but this one was less than engaging. It zipped around Davis’s
life and films with little rationale, ultimately revealing nothing but a few
factoids of mere curiosity value (unless you have a thing for Bette Davis
trivia). For instance, the play’s
descriptive blurb in the theater’s publicity makes a strong point that Bette
Davis Ain’t for Sissies explores
the stars’ “battle to win freedom from the grip and control of the Hollywood
studio moguls,” an allusion to the 1937 lawsuit she brought
against Warner Bros. studios to try to get out of a contract she thought was
deliberately holding her back. But this
event is just one of many mentioned in passing and is not a theme of the
performance. (There really isn’t one, so far as I could see. Except maybe to show that Davis was a strong
woman—but, a), we know that by now, and, b), there’s an awful lot of that on
our stages and screens these days. Not
really news.)
The play unravels haphazardly in time; though ostensibly
set on Oscar night in 1940, it jumps back to her arrival in Hollywood and
forward even to the ’50s. (The closing line is the famous quotation “Fasten
your seatbelts, it’s going to be a bumpy night!” from All About Eve, which
was released in 1950. I guess it’s
supposed to be a comment on Davis’s decision to go back to the Ambassador Hotel,
but I really think it was just an excuse for Sherr to get to speak Margo
Channing’s legendary line.) Sometimes it’s just Davis relating her
memories to us, but at other times Sherr enacts moments from Davis’s past—one
side of them, of course, since Sherr is alone on stage—as if we’re seeing the
memories themselves. Unless you know
Davis’s biography or pick up on some reference in the lines, it’s sometimes
hard to tell when in time the play is.
The actress-writer, Jessica Sherr, is not an impressive performer.
As long as she’s been doing this piece and as often as she’s spoken these
lines, she still bobbled a few at the performance I saw, for example—the last
of six. (She also has a very strange
mouth, which in the small proscenium house was very distracting.) She
doesn’t impersonate Davis, which is fine, I suppose, except that the movie star
had such a distinctive and famous style it’s hard to picture her without it;
when Sherr first came out on stage, my immediate reaction was that she looks
more like a skinny Mae West than Davis. (Sherr claims she was inspired to
create this piece—in all its several incarnations over the past half decade—because
she has “Bette Davis eyes.” Personally, I didn’t see it.)
There wasn’t much press coverage of the last New York outing
of Bette Davis, though there’s some
around from previous stagings that I’ve found.
Writing on Stage Buddy, K Krombie (apparently the guy—there’s a photo
on the site—doesn’t use a period, like the actor A Martinez) described the
one-act play as “a back and forth time construct “ that “works best
during those moments in which the arch of an eyebrow or the inflection on a
particular word transform Sherr into the Bette Davis so many are familiar with.” “Sherr has made a wise decision in
surrendering to high drama,” Krombie asserted. “Bette Davis is not a
woman who should ever be played down.” Noting
that “Davis’ acting strengths peaked with good, fast dialogue and her loaded
trademark glances,” our Stage Buddy went on to determine, “Sherr uses the same
technique, posturing, gliding, costume changing and cutting down to size those
who dare to challenge her with ineptitude, discrimination or any kind of
shortcoming.” Krombie also acknowledged
that Sherr’s “writing and characterization are well researched and plausibly
over the top.” Of Sherr’s 2013 East to
Edinburgh appearance (directed then by Janice Orlandi), David Roberts wrote on Theatre Reviews Limited, “Jessica Sherr
has those Bette Davis eyes along with remarkable Davis lookalike hair and lips.” She uses these attributes, Roberts declared,
“to create a winning retrospective of Bette Davis’ personal life and career.” The TRL blogger further reported, “Sherr
gives performances that are both comedic and dramatic,” delivering a
portrait that Roberts felt “overall . . . is authentic and gracious” despite
occasions when “the actor’s delivery loses the bite of the Yankee Davis.”
Of the 2011
performance at the New York Fringe Festival, Erik Haagensen wrote in Back Stage, the theater trade weekly, that
Bette Davis is “naïve” and “not
remotely persuasive.” Haagensen asked
the same question about which I wondered: “To whom is the character talking?” Noting that Sherr doesn’t seem to have
answered it, the Back Stage reviewer
posited that this “results in awkwardly unmotivated hopscotching through
"Bette's memories.” In addition, he
noted, as I have, “Sherr neither looks nor sounds like the legendary star,
despite an erratic attempt at a self-consciously cultured New England accent.” (Davis, who referred to herself as “a
Yankee,” was from Maine.) The Back Stager went even further than I did
by pointing out that “this Davis is suffused with self-pity, an emotion the
flinty, iconoclastic, and ferociously intelligent original would have despised.”
I can’t agree with the praise leveled on Bette Davis
Ain’t for Sissies by Krombie and Roberts above, but Haagensen seems to have come down right on my own position. I don’t recommend Bette Davis at
all, even if it returns in some new incarnation. (I saw a play in 2013 at
the Atlantic Theater Company called The Lying Lesson, about
Davis in her later years, on which I was fairly cool—but it has this one-hander
beat by a mile; see my report on 6 April 2013.
Coincidentally, it was by Craig Lucas,
the book-writer for An American in Paris, on which I reported on 2 August.)
No comments:
Post a Comment