To be perfectly honest, I dreaded seeing The Goat, or Who Is Sylvia? The Coachella Valley Repertory Company has earned a sparkling reputation for its work … and then founding artistic director Ron Celona chooses to do an Edward Albee play? High risk!
Playwright Albee, of course, is best known for Who’s Afraid of Virginia Woolf?, and he’s one of the premier names of Theatre of the Absurd. This began as a post-World War II movement, evolving out of the existentialist philosophy of the time. It grew on both sides of the Atlantic; the horrors of the war left people questioning the meaning of life and the purpose of their existence, which left them feeling futile and depressed. Interestingly, the term “theatre of the absurd” was coined by a theater critic named Martin Esslin. See? We’re not so bad.
So here is the absurd in this play: We meet Martin—not the critic; this is Martin Gray, flawlessly acted by Sean Smith—who seems to be a success in every area of his life. He’s an award-winning architect, healthy and in his prime, with a lovely wife and a nice, gay, teenage son rounding out the happy home front. The set (another terrific Jimmy Cuomo creation) reflects some of the minimalist style so loved by those in the world of design: Nice home. Nice life. But then he confides to his best friend—TV host/producer Ross Tuttle, played by the brilliant Arthur Hanket—that he is in love with … a goat! Really?
Well, imagine that this happened in your family. How would everyone respond? And that’s the essence of the Theatre of the Absurd: What would be the most unimaginable thing that could ever happen to you? And then it happens.
Ross reacts. Martin’s wife, Stevie, played by fascinating actress Sharon Sharth, reacts on several levels. Their son Billy, thoughtfully played by Ian M. White, is a teenager at an all-boys school, and he reacts. Gradually, we begin to lose hope that this is all a joke.
It would be impossible to overstate the quality of this cast. They are so learned in their craft, and perfectly chosen for their roles, that it is a pure pleasure to watch them move, listen to their exemplary clarity of their diction, revel in their magical and ever-changing faces, and feel them weave their spells through their masterful skills.
Guest director Joanne Gordon clearly had her hands full with this play, but working with such talented actors had to make this experience immensely satisfying. She has beautifully fine-tuned the electricity between the characters, and subtly ramped up the growing tension of the play to a climax that leaves her theatergoers stunned. The play delivers one sucker-punch after another, and the audience can only sit there, helplessly astonished.
Albee’s writing is genius, particularly with the dialogue, in which he cleverly captures the half-sentences and non-sequiturs that pepper our own conversations. We learn about the quality of intimacy in their relationships when we see the characters finish each other’s sentences. The verbal swordplay between husband and wife is delightful, intellectual and refreshing. The script must be peculiar to be read silently, but in the hands of these gifted interpreters of his work, it feels familiar, natural and realistic. There are some good solid laughs, some appreciative chuckles for the cleverness, and also some guffaws born out of shock … and there are tears. We see plenty of blame dished out, and rationalization, and confusion, and a real redheaded temper tantrum.
And there’s the Albee statement in the play that sums up the philosophy of the Theatre of the Absurd: “Nothing has anything to do with anything.”
The Goat offers moments that will live in the memory forever. One of the actors, face bare of makeup, flushes red before our eyes when freaked out—something usually only found in close-ups in the movies, and rarely even then. There are screams that would strip the vocal cords of us ordinary mortals. We sit humbly at ringside, being allowed to watch life-changing events take place before us. The audience rewarded this one-act work with silent and spellbound attention—it seemed like not a throat was cleared the entire time.
Hats off to the CV Rep team members—and, of course, to Ron Celona (celebrating his birthday, yay!), whose company has finally acquired a new home for the Coachella Valley Repertory Company: The former IMAX theater in Cathedral City has been secured for their expanded future. (When he started the fundraising, I said to him, “I can’t wait to see how you’re going to raise this much money!” He replied, “Me too.”) How wonderful to see a dream come true! It’s productions with the stellar quality of this one which have made this award-winning theater such a success.
From this theater experience, we learn that the only difference between Absurd and your life … is for it to happen. Think of the most surprising and unpredictable thing that ever happened to you in your life. Imagine that a goat …
The Goat, or Who Is Sylvia? is performed at 7:30 p.m., Tuesday through Saturday; and 2 p.m., Saturday and Sunday, through Sunday, April 1, at Coachella Valley Repertory, 69930 Highway 111, in Rancho Mirage. Tickets are $53. For tickets or more information, call 760-296-2966, or visit www.cvrep.org.