"The Baltimore Waltz": Dancing with the (Future) Stars

◊◊◊◊ out of five.  2 hours, including intermission.  Contains adult language, themes and sexual situations.

In the 60's and early 70's, theatre off the beaten path was celebrated and embraced by a truly passionate artist community.  They called these events "happenings."  The crazier the locale, the more they loved it.  Well, Baltimore is currently having such a "happening," though I suspect it is more out of a serendipitous coincidence and a certain need for useable space.  Single Carrot Theatre, now establishing itself as a true force to be reckoned with in area theatre and not just a youthful flash in the pan, is currently without a permanent home, and is presenting an exhilarating production of Paula Vogel's The Baltimore Waltz at Sydonne's Event Hall on North Howard Street, on the edge of Mt. Vernon.  (See below for details.)  And, it turns out, this is a fine venue for this piece, whether the company intended some of its suitability or not.

The venue, which I'll admit is completely new to me, is quintessential Baltimore - a tiny hall sandwiched between other businesses in a recently forgotten, but on the way up revamping neighborhood.  Its attributes are also very Baltimore - mismatched decor (faux chandeliers/dining room lamps overheard, repurposed rec room bars no serve as a serving area for refreshments) and a multi-purpose feel.  John Waters might host a premiere party here.  And yet, it has a decidedly European vibe to it - uneven sidewalks, cobbled street in front, and in EXTREMELY close proximity, the Light Rail.  This is probably the thinnest section of the entire Howard Street corridor, reminiscent of any number of European cities.  This odd mixture of local and Continental feel is just perfect for this play, a surreal comedy about dealing with illness in both Baltimore and a whirlwind tour of Europe.  Heck, at least twice, during dialogue about travelling overseas, the light rail hummed by, clanging its bell as if to say, "Baltimore, Europe is just outside the door!"

The play, directed by Genevieve de Mahy with equal parts mad cap zaniness (think Spy vs Spy from Mad Magazine or Mad TV), natural comedy and just the right amount of heart to ground it all, succeeds from the opening minutes.  Vogel's script calls for direct audience address, quirky choral reading and lightning fast changes for the cast of three.  de Mahy uses the space (wider than it is deep) to full effect, easily drawing our eye wherever it needs to go.  And the pacing of the short scenes is expertly executed, even when scene changes might otherwise threaten to slow things down.  Ms. de Mahy is aided by the superb technical staff of Single Carrot, who proves once again you needn't have a budget to rival the National Debt to have great theatre.  The set and lighting design by Joey Bromfield is top notch, dominated by work lights on dimmers, a skillfully used shadow box effect, and streams of toilet paper.  Yes, toilet paper.  You'll need to see the play to fully appreciate why this element is so important to the design concept, but it, too is used with skill and deeper meaning.  Witness the pristine rows of  two-ply that line the floor of the playing area, and as the characters' lives become more and more, well, messy, so too does the Charmin, eventually working its way into every corner of the place in muddled clouds of white tissue.  Clay Pruitt's excellent sound effects and background music choices also aid in letting us know exactly where we are as we are bulleted from country to country on the quest for understanding of life and drugs that might help elude death.  Finally, Emily Kallay's costumes add many laughs through out the evening and are endlessly creative.  Bravo to the entire technical staff.

Anyone familiar with Paula Vogel's work will recognize her quirky point of view and the staccato rhythm of her scenes, which mirror life in unexpected ways - they, like life, are full of twists and turns, quick successions and slow passages.  This work, a thinly veiled tribute to her brother, who died of AIDS several years ago, is a rather biting attack on the government's response (or lack of) to the epidemic.  It is also about family, sacrifice, and ultimately, love.  But, with its surreal and vivid use of language, double entendre and clever turns of phrase, it never gets didactic or even very somber.  In short, though the topic is a very serious one, it handles it with a wicked (and gut-busting) sense of humor.  You may need a tissue, but not for wiping away sad tears.

The nimble cast of three is very clearly on the same page as its director and playwright, nailing time and again the odd rhythms of the words and milking them for every possible laugh.  But perhaps even more of note is that each actor also manages to work in some much needed sincerity and real feeling, which makes the play as moving as it is funny. 

Brendan Ragan, who debuted earlier this year in Single Carrot's stunning Red Light Winter, displays comic chops that are as acutely fine tuned as his dramatic ones.  As the "third man," he plays well over a dozen different roles, ranging from an airport security guard to an uppity college friend with the keys to the health kingdom to a literally mad scientist.  Each portrayal, as you might expect, is unique, and easily identifiable (he often has less than five lines to get a new character across).  While he sometimes gets perilously close to overplaying some of these bits, Ragan always brings it down just in time to score a winning performance.  Much of the fun of the play is the endless and unexpected cavalcade of characters he brings out.  Mr. Ragan is one of those actors who uses his whole body to act, from his voice to his face to, well, even, his scantily clad rear end, and one never feels as though he is "acting" as all of his choices, even the weirdest ones, seem so genuine.

J. Buck Jabaily, back on stage after taking the helm of their last outing, shows again the versatility and smoothness of his acting style as he showed in the short play festival tat marked Single Carrot's debut this year.  As Carl, the brother of our heroine, Jabaily brings a full bodied portrayal to a role that could easily have been full of easy stereotypes.  His Carl, clearly gay (he wears a pink triangle on his coat), but not the sick one, is full of love for his sister, and an almost desperate need to save her.  What really makes his performance, though, is the fact that while Carl is full of witty observations and can argue with the best of them, the actor never lapses into swishy, bitchy queen mode.  Instead, he gives us a loving everyman, who happens to be homosexual, rather than allowing his gayness to define who he is.  He, too, brings an honest quality to his largely physical comedy.

Finally, Jessica Garrett makes an excellent Baltimore debut as Anna, the ill woman in search of a cure and of herself.  Miss Garrett's eyes are the window to the soul of Anna - they are wide wit fear, longing and anger, while the rest of her copes and sails through what is left of her life.  She expresses regret: "I wasted my life on convenience foods."  She then proceeds to ravage both a French restaurant and its waiter.  She expresses fear: "It is language that terrifies me." She then embarks on a tour of Europe and every country that does not speak English, reveling in the fact that if she doesn't know the words for her disease, it can't hurt her as much.  Miss Garrett reminds me of America Ferrera, a lovely actress with a gift for comedy and the raw feelings behind the jokes.  Her smile could light the room and her pain is endearing.  Garrett provides much comedy and much needed reality to the craziness going on around her.  She handles this most difficult of acting tasks with ease and professional quality.

In the final moments of The Baltimore Waltz, as Vogel brings about her final (and cruelest) plot twist, the characters literally waltz a dance of death (or is it a dance of life?).  It is then that the professional caliber of these performances and direction are neatly put together.  It is easy to get caught up in the farce and broad strokes and laugh easily, but it is harder to forget when that silliness so excellently brought back to reality.  Yes, Single Carrot can join the ranks of some of Baltimore's finest theatre institutions.  They are young, exciting and risk takers.  But they are also consummately professional.  All of you who decry that there is no challenging, high quality theatre must not be looking very hard.  It is all over this fine city.  This week, try a new venue in an unlikely place.  You won't regret it at all.  Besides, it is FREE!!!!

 

Single Carrot Theatre is presenting all remaining performances free of charge.  Sydonne's Event Hall is on North Howard Street, on the block between Monument and Madison.  In that area, you'll see construction barrels and flashing arrows.  Don't let that dissuade you.  There is parking right in front of the theatre and on the surrounding block, as well as the Maryland General parking garage.  The area is well lit. 

PHOTOS: TOP to BOTTOM: J. Buck Jabaily, Jessica Garrett and Brendan Ragan; J. Buck Jabaily and Brendan Ragan.  Courtesy of Single Carrot Theatre.