Welcome (or welcome back) to another installment of the Virtual Star Wars Half Marathon Weekend Blog Hop. If you missed my thrilling account of taking mile marker photos, you can find it here.
My first runDisney race was the inaugural Tinker Bell 10K (also my first 10K, period), and coincidentally, one year later, I was doing the inaugural Star Wars 10K. The Star Wars Half Marathon Weekend had taken over the January runDisney slot in Anaheim, with Tink moving to Mother’s Day Weekend. After signing up for the Avengers Super Heroes Half Marathon, I foolishly decided I could try to step it up a notch (or a billion) by attempting my first runDisney challenge, the inaugural Rebel Challenge. Keep in mind I had to register for all this months before I knew if it was remotely possible (spoiler alert: it was).
The 10K events are some of the most popular runDisney events. They usually feature a lot of time in the parks, but also just enough street time to allow people a little more serious run experience. It’s also easier to maintain the minimum pace and still have a chance to stop for photos.
Like all runDisney races, the Star Wars 10K starts with a “preshow” in the staging area set up in the Lilo parking lot next to the Disneyland Hotel. This is where you’ll find gEAR check, the ocean of porta-potties and the fancy stage area they use for the preshow and medal ceremonies. Note that Disney has added a security checkpoint before you can enter the zone where both the staging area and the corrals are located, so be prepared for that. For both the Disneyland Half Marathon Weekend and Avengers Weekend, the security checkpoint was a breeze and did NOT require arriving by 4 freaking a.m. like the event guide claims. According to my photo timestamps, the preshow usually starts around 4:30 a.m., though.
It’s also the area you end up in after you finish, dubbed the family reunion area, where you will find the massage tent, medal engraving and bodies strewn everywhere, many buried under runDisney food boxes and banana peels.
The corrals are the next block over, and I’ve learned to check my gEAR bag just before the preshow starts, then the moment it’s about to end, head quickly toward the staging area exit to head for the corrals. It’s not hard to get to the corrals, but there’s only one small exit gate out of the staging area, so the crowd backs up a lot at that point.
I like to work my way toward the front of the corral so I can see the race announcers and their guests.
Each corral gets it own start, complete with videoboard graphics and fireworks. It’s hard to take a photo in the dark while running, by the way.
Comparing the course map from last year to this year’s, it appears we may be getting a bit more park time, likely due to stretches of the backstage being closed for the start of constructing the Star Wars land, ironically enough. Parts of every runDisney race include going “backstage” to areas with offices, warehouses, storage, etc., and I consider that park time, since it’s more interesting to me than a city street. They usually bring out some of the parade floats and other special things for photo ops, though we fear there may be no more horse selfies since the stables are being relocated offsite.
The Star Wars 10K starts the opposite direction of the Disneyland 10K and the Avengers 10K, heading north on Disneyland Drive instead of south. After meandering around the surrounding streets for a little over a mile, runners cross the esplanade — the area between the entry gates for Disneyland and Disney California Adventure — for the first of two times. The esplanade is a lot of fun because it’s one of the areas where spectators line the course and cheer like crazy.
Running around Disneyland includes some character photo op stops available if you’re not overly concerned with finish time, and the iconic run through Sleeping Beauty’s Castle. I have tragically never gotten a running-through-the-castle shot from the official race photos, so I’ve had to settle for a posed shot after running through it.
After Disneyland, runners cross back through the esplanade and into DCA. Depending on what corral you start in and how slow you are, the sun may be starting to rise by now, so there are chances for some great photos at Paradise Bay and in Cars Land. These are from other races, since I didn’t take enough time to appreciate the scenery at the Star Wars 10K.
Keep your eyes open for the official race photographers (or pick up the map of the photo locations at the MarathonFoto booth at the expo, where you can also purchase discounted gift certificates for race photos). You too can have cheesy shots like this by paying attention.
One of my favorite backstage areas is running past the rear of Cars Land, by the way. It’s trippy to see the construction that creates such a realistic setting.
Unlike last year when runners exited DCA behind Cars Land and then ran behind Paradise Pier Hotel before turning down the finish straightaway, this year, runners will head north from Paradise Bay and turn for the homestretch through Downtown Disney, running the length of it with lots of spectators and Starbucks patrons milling about. Disney does a great job with crowd control here, using ropes to merge runners from one side to the other and allowing spectators to cross the path without risk of being stampeded.
One more turn right before the sorcerer’s hat at the Disneyland Hotel, and runners make the short sprint(?) across the finish line. Characters are often on a platform just to the side of the finish or at the finish line itself, and daring folks can try to get photos or, ahem, hugs.
Cross the finish line strong, then meander through the finish area (it’s one way, so once you pass one area, you usually can’t go back) to get your medal, a heat sheet, water/Powerade, ice/biofreeze/other self-treatment items and the famous runDisney snackbox (will it include Almond Roca? the addicting white cheese dip? Skittles? gross hummus?).
Then it’s choose your own adventure time, with one corridor for those who want to take a photo with the official backdrop and one for those who don’t. (There are also photographers immediately after you get your medal as well, just without the backdrop.)
Finally, you have the option to head through gEAR check to pick up your bag or turn directly into the family reunion area, where you can also get a massage ($1 per minute in 5-minute increments up to 20 minutes, which I have now made a personal staple) or have your medal engraved (usually $20, cash only, or you can prepay at the expo and get express service).
Speaking of that medal, the 10K medal last year was a HUGE shiny Stormtrooper medal, one of my favorite medals I’ve ever gotten. This year’s is also going to be amazing — a big ol’ X-Wing.
I like to head for Starbucks to watch and cheer for the final finishers, which are often truly inspiring. For the Disneyland 10K, it was a pair of military amputees. There are also plenty of great breakfast options in Downtown Disney if that snackbox didn’t do it for you.
May the course be with you!
Oh, hello. Excuse me while I blow the dust off my blog before welcoming you to an installment of the Virtual Star Wars Half Marathon Weekend Blog Hop. I’ll be covering race mile markers and my near-obsessive habit of documenting each one, usually with a blurry and/or goony-faced selfie.
I first started taking photos of each mile marker at the inaugural Avengers Super Heroes 5K, my second-ever runDisney race, primarily because the Mile 1 marker happened to match the shirt I was wearing for the race: the Incredible Hulk.
I then documented all the mile markers in the Avengers Super Heroes Half Marathon mostly because it was my first half marathon and it gave me an excuse to slow down and take a quick break every mile. I don’t officially use the Galloway run/walk method (where you take frequent walk breaks at timed intervals), but I do give myself walk breaks at water stations and mile markers. Or whenever I feel like it, really. I also don’t stop for a lot of character photos because of the long lines, so this gives me some kind of historical record.
The Avengers Half was infamous for the Santa Ana winds that assaulted runners and mile markers alike, so most of my mile marker photos are like these:
I didn’t run the Star Wars 5K last year, so I don’t know what those mile markers looked like, but I’m sure they were pretty neat. The downside to the 5K, at least if you’re in the earlier corrals, is that most of the race is in the dark, so getting decent photos is tough. At least there are only three …
Obviously, the 10K has twice as many mile markers as the 5K (science!). The inaugural Star Wars 10K was my first time doing a runDisney challenge, and my shirt was also annoying me, so the selfie-taking part of my brain was preoccupied with just getting through the race in good enough shape for the half marathon the next day. I was also fortunate enough to have finally worked my way out of the last two corrals and started in Corral C, meaning more of the race was in the dark, adding to the mile-marker-photo degree of difficulty.
I’m not fanatical about them needing to be a selfie — if a cast member or another runner is willing to take a photo for me, you better believe I’m doing that.
The 10K has an advantage over the 5K and the half marathon in that the final mile marker is nearly a quarter-mile from the finish, so it’s easier to get the shot. Usually it’s still within Downtown Disney, before the turn onto the finish straightaway.
While the 10K mile markers are usually pretty awesome, the half marathon mile markers are traditionally all the same within each race. Other than the terribly-lit early ones, you will not see a lot of variety in this thrilling gallery. You will see, however, that my learning curve on where to look improved considerably as this race went on.
That last one is always tricky. The finish straightaway is narrow, and people are locked on to the finish line like Luke Skywalker gunning for the Death Star’s thermal exhaust port. The Mile 13 marker is usually up on the grass next to the sidewalk, though, so as long as I can resist the urge to shave 20 seconds off my finish time by skipping it, I can usually grab the shot.
In addition to giving me an excuse to walk a little, mile marker photos also help me keep my sanity once the race leaves the parks and becomes a death march along city streets. I take other photos during runDisney races, but I have none for last year’s Star Wars Half between mile markers 5 through 8 and 9 through 11, because there was NOTHING interesting to take photos of. Each marker is like a little oasis as I try not to die of boredom and/or exhaustion.
By the way, if you’re worried about being swept, the mile markers can also be a reassurance that you’re ahead of pace, even if you have no idea where the balloon ladies are. According to runDisney, pace cyclists will add an orange flag to a mile marker once runners are behind the official pace and in danger of being swept.
One note about taking mile marker photos — I am fanatical about following race etiquette. When I see a mile marker off in the distance, I begin to gradually merge over to that side of the road/path, and I’ll often start to take my phone out of the armband, unlock it and switch to selfie mode. As I get closer to the mile marker, I look over my shoulder to see if anyone is close behind, then put up an arm and loudly yell, “WALKING!” I make sure that when I stop at the marker, I’m well out of the running path, and I keep an eye out for clueless head-down runners who may be heading right for me, despite the fact that if I weren’t standing there, they would presumably be running headlong into the mile marker, Wile E. Coyote-style. (And yet, despite all this, I’ve had other runners yell at me for stopping, even though I can’t possibly be in their way unless they intended to run straight through the marker like the Kool-Aid Man.)
When SHN announced its 2011-12 season, I probably topped my circle of friends in my excitement about the seven titles, despite my disappointment at no “Memphis” and the inclusion of Hair, one of my least favorite shows. “Les Miserables” holds a special place in my heart as my first musical and I was unreasonably intrigued by “Bring It On,” due to its “In The Heights“/”Next to Normal” pedigree. But it was one of the two plays that most got me excited, much to the confusion of my less-theater-nerdy friends.
I was in New York on a theater binge when “War Horse” was in previews on Broadway, and it was already a hot ticket. Since I was in a musicals-only frame of mind, it wasn’t a big deal to skip battling for a way to see it. Or perhaps I’m psychic — less than two months later, the national tour was announced, and I fully expected San Francisco to get a stop.
At any rate, I’ve become borderline-obsessed with the show, which features a number of things that put it in my weird little wheelhouse. I’m intrigued by wars, in a scholarly way. My grandfather was a Civil War aficionado, so perhaps it’s genetic. And who doesn’t love English accents?
But first and foremost, I LOVE PUPPETS. I didn’t realize the degree to which this is true until my sister-in-law proclaimed the same thing and the world finally made sense to me. I love funny puppets, serious puppets, the Muppets (my ringtone is the Muppet chickens singing “Forget You”) — if it’s made of fur or wood or felt or paper and operated by a human, LOVE IT. (This also translates to mascots, for some equally strange reason. Stop looking at me like that.)
You don’t even have to be a puppet person to appreciate the stagecraft of “War Horse,” though. What the Handspring Puppet Company has done is astounding — trust me that it’s worth the 18 minutes to watch this TED presentation about the puppets.
OK, enough with the blather. This is just to set up how excited I was when I received an invitation for SHN subscribers to a preview event for “War Horse” that would feature Joey, the title character. As luck would have it, I was already scheduled to be off work that day, thanks to the horse puppet gods. Or something.
The Curran Theater doors were scheduled to open at 5:15, so I arrived a few minutes before 5 and found around 20 or 30 people already lined up.
When the doors opened, I quickly picked up my tickets, got a free drink from the bar and met a disturbingly high number of SHN staff members who recognized me from Twitter or Facebook. (OK, it was two, but still …) The lobby also featured the big news from the previous day, already plastered eight feet tall (shown at left).
Despite not entering the theater for about 30 minutes after it opened, we still snagged seats in the front row — being accustomed to lottery and rush seating, we didn’t mind sitting on the side if it meant being close.
The event began with some of the beautifully haunting music from the show (check it out here), and then SHN marketing and sales VP Scott Kane introduced Finn Caldwell, the associate puppetry director and one of the puppeteers for the National Theatre production of “War Horse.”
Caldwell, with the most delicious South African accent, took the audience through a brief history of the Handspring Puppet Company, including an earlier show called “Tall Horse” that featured a giraffe puppet. And then he introduced the star of the show, Joey, operated by three puppeteers (Head, Heart and Hind, as they’re known — better Hind than “Horse’s Ass,” I suppose).
I already knew a lot about the amazing work the War Horse puppeteers do, thanks to a cool video diary series, available on iTunes, done by the puppeteer who plays Joey’s Hind in the West End (not going to touch that one). But to see the horse in the flesh, so to speak, was remarkable. Despite the harsh lighting, which my iPhone camera did not enjoy one bit, the puppeteers still seemed to vanish in the creature and it was barely a reach to imagine it as a living, breathing being. Indeed, the horse “breathing” is one of the movements the puppeteers use to enhance the realism.
Here’s a video I took of Joey’s entrance (with my iPhone, which does not like less-than-optimal lighting, apparently).
The event concluded with SHN’s own Carole Shorenstein Hays getting a ride on Joey (the construction allows the puppeteers to carry actors) and then a raffle for a photo opportunity with the horse. That was a prize I would have paid serious money to get, but alas, I wasn’t a winner.
Though I’d already figured I’d see “War Horse” more than once when it arrives in August, this event sealed that. In fact, I’m hoping to get a ticket for opening night, in addition to my subscriber night of Aug. 16. And hey, a third time might be in the offing, especially if I can somehow get a photo with Joey.
In preparation for finally hanging up some of my framed Wicked stuff, I took a closer look at the cast-signed poster I got in 2005 when the national tour came to San Francisco. And much to my surprise, even though Kendra Kassebaum played Glinda at that time, I can’t find what for sure is her signature on the poster.
So I’m curious: Did Kendra sign my poster? If not, which Glinda DID sign my poster? Or did NO Glinda sign it? I’m appealing to Wicked fans to help me here, since a look at lists of Glindas hasn’t helped me figure it out.
The poster image is below — click on it for a much larger version. Traditionally, Glindas sign somewhere in the area of the white-clothed witch. The signature on the sleeve near the wrist, between Paul Slade Smith (Witch’s Father) and Jenna Leigh Green (Nessa Rose), could be Kendra, but it doesn’t match up that well with the other Kendra signatures I have. (PHOTO ADDED OF THOSE BELOW.)
UPDATE: I now think the one between Paul Smith and JLG is actually Aaron Albano (ensemble). One person asked about the signature within the K in Wicked, and I think that’s K.W. Miller (ensemble).
I believe the signature on the hat might be Laura Dysarczyk (swing, and since she’s in the SF production now, I can ask her sometime), and the one on her nose could be Maria Eberline (ensemble). Beyond that, I’m kind of stumped, but I see no other signatures that could be Kendra’s. If she didn’t sign it, then presumably somewhere is the signature of a previous Glinda, but I have no clue who to look for.
I’ve also included a photo of the program’s cast listing for cross-referencing. By the way, while I realized earlier that Adam Lambert was in that cast (and signed the poster), I just now noticed Brooke Elliott also was in it. I’ll have to figure out which signature is hers, too.
CLICK TO ENLARGE:
And here’s that program (click to enlarge):
ADDED — photos of other Kendra Kassebaum signatures I have (click to enlarge):
One of the coolest inventions from the fine folks at Apple has to be the iTunes Genius Mix, where you select one song from your library and it automatically creates a playlist of 25 songs from your music library that eerily seem to go quite well together.
Sometimes I’ll do the equivalent of closing my eyes and picking a song at random and see what the Genius button spits out. One day, the waggling virtual finger alighted on Wham’s “I’m Your Man” (what? I was a teen girl once, you know), and the Genius Mix that popped out never fails to entertain me in a totally awesome and completely shamed way. Note that it was created when I only had my iTunes purchases loaded into that computer and not my ripped CDs, so that’s why there are so many duplicated artists, but I kind of like that.
Here’s the lineup, if you want to re-create this delight yourself (song, album, artist, because I’m too lazy to edit the iTunes listing). I dare you not to shake your tailfeathers at some point while listening to this:
1. I’m Your Man, Music from the Edge of Heaven, Wham!
2. Blame It On the Boogie, Essential Michael Jackson, The Jacksons
3. Never Can Say Goodbye (Tom Moulton Mix), The Best Of Gloria Gaynor, Gloria Gaynor
4. The One Thing, Shabooh Shoobah, INXS
5. …Baby One More Time, Greatest Hits: My Prerogative, Britney Spears
6. Leave Me Alone (I’m Lonely), I’m Not Dead, P!nk
7. Everybody (Backstreet’s Back), The Hits – Chapter One, Backstreet Boys
8. Boogie Shoes, The Best of KC & The Sunshine Band, KC & The Sunshine Band
9. I’d Really Love to See You Tonight, Rhino Hi-Five: England Dan & John Ford Coley, England Dan & John Ford Coley
10. Heartbreaker, Greatest Hits, Pat Benatar
11. Freedom, Make It Big, Wham!
12. Bad Inﬂuence, Funhouse, P!nk
13. Shake Your Body (Down to the Ground), Essential Michael Jackson, The Jacksons
14. Pretty Vegas, Switch, INXS
15. Boys (Co-Ed Remix), Greatest Hits: My Prerogative, Britney Spears featuring Pharrell Williams
16. Spiderwebs, Tragic Kingdom, No Doubt
17. The Game of Love, Shaman, Santana Featuring Michelle Branch
18. I Have Seen the Rain, I’m Not Dead, P!nk featuring James T. Moore
19. Last Christmas, Music from the Edge of Heaven, Wham!
20. As Long As You Love Me, The Hits – Chapter One, Backstreet Boys
21. If I Can’t Have You, All I Ever Wanted, Kelly Clarkson
22. You’ve Lost That Lovin’ Feelin’, The Very Best of Daryl Hall and John Oates, Daryl Hall & John Oates
23. Love Is Alright Tonite, Working Class Dog, Rick Springﬁeld
24. Don’t Change, Shabooh Shoobah, INXS
25. Extraordinary, Liz Phair, Liz Phair
Just for kicks, I regenerated the Genius Mix on a library that now contains the bulk of my digital collection, including ripped CDs. It also packs in a fair amount of awesome:
1. I’m Your Man, Music from the Edge of Heaven, Wham!
2. Church Of The Poison Mind, Colour By Numbers, Culture Club
3. Thorn In My Side, Greatest Hits, Eurythmics
4. Cherish, The Immaculate Collection, Madonna
5. Never Can Say Goodbye (Tom Moulton Mix), The Best Of Gloria Gaynor, Gloria Gaynor
6. You Do Something To Me, The Truth About Cats & Dogs, Paul Weller
7. I Can’t Go for That (No Can Do), The Very Best of Daryl Hall and John Oates, Daryl Hall & John Oates
8. Blame It On the Boogie, Essential Michael Jackson, The Jacksons
9. Knock On Wood, Disco, Amii Stewart
10. Freedom, Make It Big, Wham!
11. Nobody Does It Better, Greatest Hits Live, Carly Simon
12. Too Shy, White Feathers, Kajagoogoo
13. Tell Her About It, Greatest Hits, Vol. II (1978 – 1985), Billy Joel
14. Little bird, Diva, Annie Lennox
15. Just Good Friends, Bad, Michael Jackson
16. Together Again, Velvet Rope, Janet Jackson
17. There Must Be An Angel (Playing With My Heart), Greatest Hits, Eurythmics
18. Into the Groove, The Immaculate Collection, Madonna
19. Our Lips Are Sealed, Greatest, The Go-Go’s
20. Disco Inferno, Disco, The Trammps
21. One on One, The Very Best of Daryl Hall and John Oates, Daryl Hall & John Oates
22. Coming Around Again, Greatest Hits Live, Carly Simon
23. True, True, Spandau Ballet
24. Sledgehammer, So, Peter Gabriel
25. Shake Your Body (Down to the Ground), Essential Michael Jackson, The Jacksons
If it’s a Broadway show coming through San Francisco (and it doesn’t star Harvey Fierstein), I’m there, so there wasn’t any question I was going to see “In the Heights.” But I confess I wasn’t particularly excited about the show based on the description and listening to clips from the soundtrack.
A show about the Hispanic immigrant experience in New York City had little resonance for me. For one, New York is one of my least favorite cities in the world and the glorification of it irritates the life out of me. Shows about people struggling to get by also generally aren’t my cup of tea (unless it’s puppets doing the struggling); while I loved “Rent,” that’s a rare exception to the “don’t bum me out” rule I usually bring to my entertainment choices.
And while I’m the daughter of an immigrant, the German-American experience doesn’t really give me the ability to connect readily to the the subject matter of “In the Heights.”
I assumed that the accolades and praise heaped upon this show, which won the Tony Award for best musical in 2008, were in part because in somehow shook up the conventions of Broadway, brought unheard voices to the stage, opened up theater to a new audience, etc. … none of which is primarily what I’m looking for in a musical, being mostly a devotee of Sondheim and Phantom/Les Miz/Lion King-type spectacles.
So I’m very pleased to report that “In the Heights” is a wonderful show. It’s far more traditional a musical than I expected — and that, to me, is a good thing. The plot is barely there, revolving nominally around the fate of several businesses in the Washington Heights neighborhood in which it’s set, but it still feels like a show with substance.
Credit goes to the outstanding cast for giving it that heft. In particular, Kyle Beltran brings charm and appeal in the lead role of Usnavi, making you care about the life-changing decision he faces regarding the bodega he owns and operates. He also handles the challenging rap sections of the score adeptly. (Below is Corbin Bleu as Usnavi from the Broadway cast performing the opening number.)
Also memorable are Shaun Taylor-Corbett as cousin Sonny and Arielle Jacobs as struggling Stanford student Nina. Taylor-Corbett takes a purely comic-relief role and elevates it above the status of jester to something endearing. Jacobs combines the cuteness necessary for the role of a teenager with emotional heft and a beautiful voice. (The entire cast, it probably goes without saying, is ridiculously talented, both vocally and in the lively and intricate dance numbers.)
Below is not the best video, but a fantastic example of the talents of Arielle Jacobs singing “Breathe,” one of my favorite numbers from the show.
I admit to connecting with the character of Nina, who not only attends my alma mater but also is dealing with financial struggles to go there. When I was at Stanford, I worked year-round to help afford it — my senior year, I had three jobs — and my family made great sacrifices to help foot the bill. To this day, I get particularly irritated when people mock my school as the playground of rich kids; although, yes, many who go there come from affluent families, plenty come from more modest backgrounds.
As a former techie, i also appreciated the multi-level set design and the clever use of phantom doorways that moved out from the physical storefronts to expand the acting space.
It’s hard to say exactly what it was about this show that made me appreciate it more than I ever expected to (though I’ve just spent far too many words trying to do just that). It’s genuinely entertaining, heartfelt and endearing, and I’m very glad I got a chance to see it.
I didn’t intend for this blog to be entirely about theater, but one of the things I miss desperately about stage managing is getting to discuss plays. Now that I’ve kicked up my theater-going, I find myself with so many things I want to share about whatever show I just saw.
Unfortunately, this one’s going to be more about the audience at the wonderful show I saw last night, Berkeley Rep‘s production of “In the Wake,” a new play by Lisa Kron.
“In the Wake” has a lot of words, many of them coming from the mouth of main character Ellen, a feisty progressive who annoys her bemused “family” with her passionate screeds against the conservative administration and social injustice (the play begins with the disputed 2000 presidential election and uses various events during the Bush administration as the backdrop, projecting headlines onto the proscenium during scene breaks to advance the timeline).
But the core of the play is about Ellen’s life and about how her illusion of being in control of it is just that — an illusion. She finds herself caught between two relationships, one with a man and one with a woman. It’s thoughtful, engaging and very well-acted.
Which brings me to the show’s biggest problem — it’s produced by Berkeley Rep. Don’t get me wrong; Berkeley Rep is an outstanding company, putting on some incredible productions. It’s the company that brought “American Idiot” to life, for one. But it’s located in Berkeley, a place I just can’t stand.
I’ve been going to Berkeley since I was a kid, when I would take BART over there to visit a role-playing-games shop I loved (yeah, I was an RPG nerd — don’t act like you’re shocked). And I was even accepted to UC Berkeley, to which I applied as a safety school. But I’ve always been frustrated by its clash of in-your-face, do-whatever-you-want hippie-dom (and tolerance for absolute lunatics wandering the streets) with uptight, entitled snobbery.
The latter is what sat behind me during “In the Wake.” Yes, the first act is probably too long at 90 minutes. And if you have a knee-jerk objection to a perceived “liberal agenda” being pushed by the play (which I would question — more on that in a bit), that first act is going to seem EXTRA long.
At a point in the show where a teenage girl is introduced, one of the characters refers to something as “inexcusable,” to which the fellow behind me whispered, “What’s inexcusable is the acting in this play.” I was horrified and completely taken out of the moment. Later, the same man had a whispered exchange with his companion, where he exasperatedly noted the first act was an hour and a half.
When intermission hit, I turned and watched them get up. I was fuming, and part of me hoped they were leaving while another part wanted them to come back so I could give them a piece of my mind about not ruining the show for those of us who are enjoying it. I’m not a confrontational person, but I very much wanted to let them know that their behavior was selfish and reprehensible.
At the same time, the group sitting in front of me got up and I couldn’t help but overhear that they were debating whether they were going to leave or stay for the second act. I was mystified, not only that we were apparently experiencing two entirely different shows (and wondering if I had lost any ability to watch a show critically) but also that these two groups of people were so self-absorbed that they were unable to keep their dissatisfaction to themselves and just leave quietly without spreading their malcontent to those around us.
I was just exasperated, to the point where I stomped into the lobby, probably wild-eyed, trying to figure out how to defuse my anger. I ended up telling the ushers at the door that I loved the play but hated the audience and told them about the rude behavior and my intention to say something to the mouthy fellow behind me.
It turns out the man and his companion did leave, as did the four people in front of me, which again doused some of the electricity I had experienced from the first act of what I felt was a scintillating play. As the second act opened, with Ellen and her girlfriend engaged in a makeout session (that was sexy and warm and delightful), I thought, “Well, good thing those old cranks left, because this really would have set them free!”
Thankfully, the evening was largely redeemed when the appreciative audience gave the cast a well-deserved standing ovation at the curtain call. See, I hadn’t lost my mind — this IS a fantastic show.
On the way home, I mulled over what might have made those unhappy audience members so dissatisfied, and I think there were two possible scenarios at work (possibly both at once).
As noted, the show’s main character is an outspoken progressive, and the framing device involves headlines from throughout the Bush administration, from both elections to Sept. 11 to the invasion of Iraq to Hurricane Katrina and beyond. If one is decidedly right-wing, just the suggestion that it’s an indictment of Republicans can put up the hackles, blinding them to the opposing voices presented in the play. But it’s not a show about politics, really. It’s about how events out of your control — political, economic, personal — can spin your life in all kinds of directions without your necessarily realizing it.
And though Ellen IS endearing, she’s also exasperating regardless of your political bent — and she was absolutely written to be just that. Though she has a definite world view, she’s challenged on that by the other characters, just not in a Fox News kind of way. So perhaps that’s why some audience members would feel alienated to the point of having to make a show of leaving at intermission.
But the fellow sitting behind me wasn’t indicting the show’s politics; he was slamming the acting, which dumbfounded me. My first thought was that the “liberalness” of the show was frustrating him and perhaps making him hate everything about the show, including the performances.
I did strike up a conversation with a couple sitting next to me about the rude behavior and the people who had left in front of us, and they astutely pointed out that the nature of theater is that you have to get to know the characters a bit before you can settle in with them. The character of Ellen’s boyfriend, for example, is one of those extroverted guys that cracks jokes at everything. It’s initially a little off-putting, seeming like he’s overacting, but you quickly realize that’s who this guy is. Everybody knows a guy like that, who’s a little hyper, always a bit of a show.
And the teenage girl that’s introduced late in the first act is played like an actual teenage girl — awkward, unsure of her words — and she’s struggling in school. She’s not like the youths you typically see on TVs and in the movies, polished and wisecracking.
It’s an interesting dichotomy: the realness of the characters combined with the inherent artificiality of theater, watching people play out their lives in a three-sided box. I don’t know which aspect didn’t resonate with Mr. Crankypants behind me, but it’s sad that his expectations were so unrealistic that he not only hated what he was seeing but that he also couldn’t restrain himself from ruining it for those unfortunately sitting close enough to hear his complaints.
“In the Wake” certainly isn’t perfect. It could use some editing, and yes, the teenage girl does feel a little like a deus ex machina, introduced just to provide a impetus for more debate between Ellen and whomever engages her.
One of the very first things I did in my theatrical life was produce a show of three original one-act plays at Stanford. I know the exhilaration of discovering a new work, and the imperfect nature of such things — and really, nothing is ever perfect.
I’m sorry that those people weren’t able to allow themselves to connect with the discovery of new characters and new worlds, especially when produced at such a high quality as Berkeley Rep does.
So do yourself a favor — go see “In the Wake” or another Berkeley Rep production (I’m 4-for-4 in liking everything I’ve seen there in the past few months). Keep an open mind, and try not to sit near the cranky old people.