November 19, 2005

In Review | Big Love
by Tidings reviewer Evalyn Robinson

Modern retelling breathes new life into play

A mass ceremony, 50 brides and grooms — is it another California cult wedding? No, it’s “Big Love” by Charles L. Mee, now playing on the SOU “Off-Center” stage.

“Big Love” is based loosely on Aeschylus’ “The Suppliant Maidens;” and the plays are similar in their use of language — long poetic passages of vivid and beautiful imagery. However, with “Big Love,” Charles Mee extends the plot to examine such timely themes as war vs. revenge, justice vs. peace, women’s rights, materialism, and gay love.

In Aeschylus’ play, the brides arrive in Greece from Egypt with their father. The women threaten to hang themselves if not given protection. There is a democratic vote. The women are taken-in (so long as they behave), and the grooms go home. “Big Love” goes a lot further. Three Greek brides arrive at an Italian villa ahead of the rest. They seem so perfectly matched to their Greek-American grooms, that it seems the play might end as a Shakespearean comedy, all perfectly married. However the plot takes a sinister turn. In a spirit of compromise, the hosts prepare a lavish wedding which ends in a major Dionysian upheaval.

Mee creates a timeless world that converges in “a midsummer evening, the long, long golden twilight.” Here we find memorable characters: The Old World matriarch filled with insight and memories; a gay nephew (voraciously into Barbie); an English couple desperate to dispense with their Puritanism; and their gracious host. All play into the fate of the brides and grooms.

Kirsten Acheson provides a strong portrayal of the serious and zealous Thyona. Sophie Green is an effective Lydia, vulnerable and kind. Ashley Scallon (Olympia) is a perfect comedienne with her portrayal of the pampered yet pliable L.A. mall-doll.

Peter Diseth is commanding as Constantine and powerful as he arrogantly articulates his misogyny. Sam Dinkowitz, as Nikos, the weeping bridegroom, is so affable that he captures all of our hearts. Hardy Pinnell’s character is so hilarious that one really wants to see more of Oed.

Tara Rene Yeiter (Bella/Eleanor), whose voice and demeanor embodies the spirit of the play, is so appealing that one can almost overlook her lack of affinity for characterization.

Anthony Bianco creates a delightful diva (Guiliano) whose tale of lost love evokes universal sympathy. Jimmy Garcia, as Piero, warmly conveys traditional European hospitality and charm.

Dazzling lighting effects (designed by Chris Sackett) enhance the athletic tantrums of the young actors, who hurl themselves repeatedly upon the furry white floor. Moving white spotlights add power the long lyrical monologues.

James J. Fenton provides a set with marvelous playing areas, where actors move freely on multiple levels. However, the set is so garish that it overpowers the characters.

While the surround sound and musical effects are seamless (designed by Tim Brown); the songs lose their effect through lack of volume.

Costumed by Deborah Rosenberg, the slender young brides wear delicate white dresses, some with hilarious details!

Neatly choreographed by Liz Finnegan, the wedding dance (which morphs into an apocalyptic vision) is deftly performed by numerous brides and grooms.

Charles Mee has proven himself to be a major voice in American theater. Directed by Deltra Ferguson, this production, though flawed, has the verve and vitality of SOU’s talented cast and crew. With its message “Love trumps all,” “Big Love” makes for a satisfying evening of theatre.<

“Big Love” contains adult language and themes; discretion is advised.