Hip Shot: “Ethan Now”
Ethan Now
The Universe - Universalist National Memorial Church
Remaining Performances:
Friday, July 18 @ 7pm
Sunday, July 20 @ 12:30pm
Saturday, July 26 @ 3pm
Sunday, July 27 @ 12:30pm
They say: “Ethan Now tells the story of the Lansdown brothers - Ethan, successful investment banker with a smart and beautiful wife, and Bradley, struggling writer who has “never even had a girlfriend.” Brought together at their parent’s [sic] beach house for their father’s funeral, this apparently ideal family proves to be anything but.”
Glen’s take: It’s useful to separate Ethan Now (the written play) from Ethan Now (the Fringe staging) and here’s why: The play itself? A fairly conventional bit of business in the dysfunctional-WASPy-family mode that doesn’t go particularly Fringey until about six minutes to the end (and even then only kinda-sorta.)
The physical production, on the other hand, is pure Fringe from the get-go, inasmuch as it’s mounted in a sweltering church basement with notably lousy acoustics (seriously: unless the actors face downstage front and shout — something most of this tentative, small-voiced cast is reluctant to do — entire monologues get swallowed up in a din of echoes).
Director/author James L. Beller, Jr. seems to know what he wants to say about the nature of fraternal rivalry and sexual frustration, but he hasn’t yet supplied Ethan Now with enough structure to say it clearly. As a result, the play hits the same beats repeatedly, a nice, well-acted monologue by the boys’ mother (Susan Holliday) goes on too long, and those last six minutes simply aren’t built strongly enough to support the weight they’re expected to.
See it if: You can bring along headphones and a shotgun mike.
Skip it if: You think sitting in a church basement listening to someone complain about his dysfunctional family sounds too much like an AA meeting.
Tags: ethan now, shitty acoustics, universe
July 13th, 2008 at 4:53 pm
Capital Fringe is to blame for the venue, not the playwright or actors. For those lucky enough to sit up front — get there early — they were rewarded with skillful character development which you mistake for “hitting the same beat” and a stunning surprise ending — which is what drama is all about.
Obviously, you took out your discomfort from the heat and acoustics on the production — not fair. On a cool day, and within range of the stage, and the theatregoer will have a great time.
July 14th, 2008 at 5:51 am
If I had spent the whole day seeing two or three shows, as apparently Mr. Weldon did on the day he finished with “Ethan Now”, I also would have been cranky about the theatre conditions faced by the audience and cast. But I still would not have let my physical discomfort affect an objective view of the show. I am not alone in concluding that “Ethan Now” is one of the finest new plays to arrive on a Washington stage in quite some time; a seatmate called the playwright “a 21st Century O’Neill” and others leapt to their feet at the curtain, in enthusiastic approval of the cast’s performance. It is well worth enduring the shabby theatre conditions provided by the Fringe organizers to see a marvelous new American play with a atunning ending, well-directed and well-executed by a first-rate cast.
July 14th, 2008 at 7:43 am
I’m a former fringe artist, current fringe audience-member, and have been reading Fringe and Purge to help guide me (but not decide for me) as to what I should see.
Glen’s review seemed very fair to me - he did give his critic’s opinion as to the play itself (which is his and his alone, but is what he’s here to do), he opined on the direction of the play (see previous parenthetical), and yes, let us audience members know about the conditions of the theater itself. That is very “fair,” and in fact, his duty as a critic to let us know. It would be unfair to Fringe and Purge readers if he didn’t let us know about the conditions.
There’s nothing in the review I see above that Glen is “taking anything out” on anyone. Looks pretty fairly balanced to me, and, in fact, prior to the comments, I had been considering attending this production. Hopefully Fringegoers have a high tolerance for Fringey conditions - that part of the fun of Fringe.
I also hope that Fringe artists and audience members have a high tolerance for reviews they may not like. I’m not saying the above comments weren’t truly from passionate audience members (although “a 21st Century O’Neill” as a descriptor for any Fringe playwright gives me some doubt), but as a general rule, comments that look like they were written by an artist or his mother (whether or not they were) tend to strengthen the original critic’s case rather than rebut it.
July 14th, 2008 at 10:04 am
translation: stop snivelling, little worm. you got a review.
someone loves you. you are doing something right. keep on doing what you do.
we rock faces off in spite of heat, electrocution and bloodshed. reviews won’t spare anyone from The Eternal Wake.
Carpe Noctem,
Goddess bless the fringe
July 14th, 2008 at 10:59 am
It is correct of the reviewer to mention the quality of the script and the conditions of the space. By and large, I agree with his views on both (although I would point out that the day of the review had seen 90+ temperatures and high humidity - conditions that will hopefully not be the norm).
What I take issue with is his making these comments the sum total of his review - to the exclusion of a discussion of the performance itself! Like most Fringe-goers, I rely on these reviews to find out which Fringe performers/performances are ‘good’, interesting, and deserve a viewing. I should never finish reading a review and be unsure of what the reviewer thought of the actual production he attended! His failure to discuss the performance gives the impression that it had no impact on him whatsoever, which implies it must be dull and mediocre.
This is not the case. The main characters gave subtle and well-rounded performances; the dialogue clips along at a good pace; I was riveted from beginning to end. I found this to be an extraordinarily good Fringe production. And the quality of the show was all the more impressive given the oppressive conditions, bad acoustics, and clunky script.
Whether the reviewer agrees with me or not on this, I would ask that he finish his review to include a commentary on the performance – which is what the typical Fringe-goer is most interested in.
See it if you are looking for an interesting and well acted production.
Skip it if you are more interested in your own comfort than in the quality of the show.
July 15th, 2008 at 5:40 am
Capital Interests
Chocolate Jesus and Ethan Now are among the highlights at the third annual Capital Fringe Festival in Washington D.C.
By: Dan Bacalzo · Jul 15, 2008 · DC Metro
Eva Salvetti in Chocolate Jesus
(© Sanford Saidman)
Now in its third year, Washington D.C.’s Capital Fringe Festival — which runs through July 27 — boasts over 100 productions spread out over several venues. Like all fringes, the quality of offerings varies quite widely from show to show. However, during the festival’s opening weekend, I was fortunate enough to attend two very worthwhile pieces, as well as a couple of less engaging ones.
My favorite show was Chocolate Jesus, a collection of four monologues on religious themes, written and performed by members of SpeakeasyDC, which is dedicated to autobiographical storytelling. Artistic executive director Amy Saidman opens the performance with a tale of how she got in touch with her Jewish identity — starting with being enrolled in a socialist Zionist camp where the counselors put the attendees through simulations that included waking them up in the middle of the night in order to “flee Russia.” Eva Salvetti shares a funny but moving account of how the Catholic Church “provided a place to rebel” against her permissive Argentinian parents. In the most bizarre story of the evening, Stephanie Garibaldi talks about a time she spent in Mexico impersonating — or perhaps actually channeling — a Mayan fertility goddess. Finally, the charming Travis Wright discusses growing up Baptist and reconciling his faith with his gay sexuality. Each tale contains a wonderful blend of humor and more serious content. While Saidman is the most “polished” performer in the group, all four exhibit a wonderful energy, a real connection with their audience, and a sheer joy of sharing their stories.
Ethan Now, written and directed by James L. Beller, Jr., is a dysfunctional family drama that revolves around the relationship between adult brothers Brad (Mark Ludwick) and Ethan (Majed Sayess). Their father has just died, and the family is convening for the funeral. As the show progresses, a number of long-buried secrets are revealed, including a rather provocative one that had several audience members buzzing as they exited the theater. However, Beller makes a better playwright than he does a director. Several of the production’s transitions are awkwardly handled, and some of the staging choices feel forced, which interrupts the flow. Still, the edgy subject matter is well handled by its cast, particularly Ludwick and Jessica Wanamaker as Ethan’s wife Meg, who share some of the play’s most emotionally complex scenes.
The exterior of Cole Studio
(© Dan Bacalzo)
One of the best things about Fringe festivals is the opportunity to visit some unusual performance spaces, many of which aren’t traditionally used for theater productions. Sculptor Robert T. Cole has lent the use of his Cole Studio, in which his beautiful metallic art works are displayed both outdoors and inside of the venue. Unfortunately, the show I saw there — Joey Maranto’s Good Enough for Government Work — was a rather tiresome piece that was more stand-up than solo performance. The writer/performer, who also works as a government auditor, tells numerous lame jokes and anecdotes that poke fun of himself and his fellow government employees. But there’s no real narrative thread to hold them together, and the hour-long show wears thin very quickly.
Another performance space I enjoyed visiting was the DC Arts Center, which has a visual art gallery that you can browse upon entering, and a theater in the back. Sadly, Scot Walker’s 3 Murdered Clowns, a collection of short plays and monologues, was far less interesting than the “Kid Mutiny” art exhibition currently on display in the gallery. Walker’s work deals with the Kennedy assassination, a tour guide’s really bad day, and a Congressman involved in a sex scandal. While the show deals with some darkly comic material, it doesn’t have the wit or humor necessary to make for compelling theater — particularly in this lackluster production directed by Catherine Aselford and performed by George Balulis, David Berkenbilt, and Jennifer Mayberry.
New to this year’s festival is the Capital Fringe Festival button, which costs $5 and is required for admission into any Fringe show, even if you’ve already purchased tickets. While not all attendees seem keen on the idea — and senior citizens don’t have to wear one — the button enables the wearer to receive various special offers at a number of local businesses. For example, I got a discount on a delicious meal at the Latin American-style restaurant, Rumba Café. In addition, proceeds from button sales are shared out equally to Fringe-run venue participants, so the monies go to support the work of the Capital Fringe Festival artists.
July 17th, 2008 at 10:03 am
[...] venue has been criticized for lousy acoustics and heat, and I prepared for the worst as Fringe employed deafening jet [...]
July 20th, 2008 at 3:14 pm
I agree with Weldon’s review for the most part. No matter how hot and uncomfortable the venue, if Ethan Now was staged better I’d have been less focused on my discomfort.
The script has some shining moments, some good reveals but left too much unresolved and disconnected to feel like a completed piece of work. The three female characters, were by far more interesting than brothers Ethan and Brad. Short of the big reveal they seemed whiny and self-indulgent.
Please consider a re-write that gives the females some substance. They are great characters but injected without definition. Why did she cheat? Why did she get pregnant, when in a loveless marriage? And why is she unable to keep a steady man? On that note, Kelly needed more stage time. Leigh Lewis, as Kelly, shined and could be heard regardless of the bad acoustics! Her delivery and comic timing was a breath of fresh air in a stuffy venue.
July 20th, 2008 at 3:39 pm
i think glen gave a pretty good review but what’s even better is that people are commenting and giving their own opinion–that’s what fringe is all about! anyone can do a show in the fringe, and anyone can express their opinion. that being said, it’s kind of ridiculous and hilarious to ask glen to write another review.
July 20th, 2008 at 8:55 pm
Sam — if that comment about ridiculous was directed at me — let me clarify - Beller is who needs to do the re-write not Glen.
July 21st, 2008 at 1:04 pm
[...] is selling and I can’t put my finger on just exactly why until I hit on a word like tentative - that stuff, I’ll write [...]
July 28th, 2008 at 3:52 pm
[...] for the art? Well, Fringe audiences have spoken, voting for Ethan Now as best drama, the zombie-rock shocker Diamond Dead as best musical, and David Gaines’s [...]