'Blackbirds' blurs actor and audience

By Nicole Diamond

In any traditional theatrical production, there are two separate entities: the actors and the audience. But in Four and Twenty Blackbirds, the Physical Impulse Theater Company's spring production, the lines between the two blur. The audience is pulled into the action on stage, taking part in the experimental world presented by the actors. In five pieces directed by four directors, Four and Twenty Blackbirds covers everything from Chekhov to improv, from Pablo Neruda to June Cleaver. For the most part, this interactive presentation succeeds and intrigues.

The first of the pieces is "The Proposal" by Anton Chekhov, directed by Fell Ogden, DC '97. Ogden and her cast give each character a specific physical movement, giving the play a decidedly modern feel. Elihu Rubin, SY '99, and Jeremiah Baumann, TC '97, work well within this physical framework. Autumn Leonard, JE '00, seems less comfortable with the physical aspects of her role, though she carries the part despite this impediment. The piece runs a bit long, and the consistently high noise level makes it somewhat abrasive, but Clara Sturges, MC '99, ends the action on astrong note.

The second piece, directed by Stephen Aleman, PC '98, is a stirring exchange between two characters entitled "No Good." Man (Nicholas Penfold, ES '99) and Woman (Kelly Burns, BK '99) take the audience through a romantic relationship, backed by a strangely suitable vocal accompaniment of hums, whispers, and clicks conceived by Baumann. Burns is particularly touching as the innocent and confused young woman, and Aleman's skillful direction of the two actors is apparent. The lighting, by Thomas Benjamin, PC '00, is particularly good here.

The third piece, a short play written by Alex Rubens, PC '00, is the highlight of the production. "Put On" places four characters on stage, gives them a scenario, and then leaves them to debate their own existence. To tell more of the plot would be to ruin its highly original premise, but Rubens's dialogue and style make "Put On" a hilarious and thought-provoking piece of theater. Kim Posnett, MC '99, and Manuel Negron, PC '00, play off one another particularly well; their individual abilities as comic actors find a welcome outlet in the script. Lilly Tuttle's, PC '00, direction is intelligent and aptly minimal, letting the actors make the most of their material.

"Get A Job," directed by Ben Mazzotta, BK '99, jars with the rest of the production. A medley of improvisation and scattered quotations, it attempts to explore the age-old question, "What do you want to be when you grow up?" Throughout the action, Mazzotta and his actors strive to portray the difficulties of self-definition. Unfortunately, this piece never quite decides what it is trying to say, and for this reason the audience is left with a confusing jumble of disjointed sketches and scenes. The two highlights of "Get A Job" use audience participation: Negron's improvisational story and Clara Sturges' audience motivation help guide this messy, spirited piece.

Finally, "Heart of the Predator" explores evolution with a dog (Jon Kotchian, BK '97), a cat (Tamara Fisch, PC '00), a bird of prey (Posnett), a primate (Aleman, who also directs) and a rodent (Shana Katz, PC '00). The underlying message of Aleman's work is aided by the physical abilities of his cast; Fisch and Katz are both especially convincing, and the agility and power of all five actors dominate the stage. Unfortunately, the music that accompanies the piece tends to stop and start abruptly, which breaks up the otherwise fluid transitions.

Four and Twenty Blackbirds marks the second production of the Physical Impulse Theater Company. Despite its somewhat ragged edges, the creativity, enthusiasm and raw talent of those involved make the final project worth experiencing.

Back to A & E...