OCC tackles 3 of absurdist Ionesco’s plays

Tom Titus

Playwright Eugene Ionesco, like his contemporary Samuel Beckett, is

an acquired taste. Those playgoers who demand their theater make some

semblance of sense are probably not among Ionesco’s disciples.

Ionesco pioneered what was known as the absurdist theater movement

in the 1950s, a confusing style in which words were battered about

like so many beach balls at a baseball game with little regard to

their function in creating a coherent story. He found civilization

ridiculous -- and civilization responded in kind.

Three of Ionesco’s more notable works are on stage at Orange Coast

College, courtesy of the OCC Repertory, and if you can tough it out

through the first two ridiculous entries, you’ll find a

semi-entertaining piece after intermission.

That would be “The Lesson,” in which a meek and mild professor

(played by Sean Engard) progresses from exceedingly deferential to

exceedingly antagonistic while trying to reach a recalcitrant pupil

(Michelle Barnes) who can’t seem to grasp the theory of subtraction.

Engard, though wobbling occasionally, builds his Jekyll-Hyde

character splendidly, reciting some mind-numbing scientific dialogue

with the fervor of a South American dictator. It’s not enough,

however, to leave an impression on Barnes, who can concentrate only

on her toothache.

Director Kris Kelley gradually increases the tension level from

polite deference to manic outrage and the shocking employment of an

invisible prop. Lynne Mitchell contributes a rather bland performance

as the educator’s maid.

Before intermission, we’re offered “The Leader” and “The Bald

Soprano,” the latter Ionesco’s first play, circa 1950. Even with

OCC’s “A Team” in residence, there is little to recommend in “The

Bald Soprano” except for the opportunity of watching some advanced

students wrestle with outlandish dialogue at the top of their voices.

Hosts Sean Gray and Christy Williams entertain guests Angela Lopez

and Angel Correa in this episode of inconsequential jabbering,

highlighted by a sprightly tango from the latter couple. Rudolph

Niemann arrives via the audience as a “fire chief,” and Michael

Cavinder plays the maid in drag for reasons unexplained, as is the

entire script.

The program notes that Ionesco wrote “The Bald Soprano” after an

unsuccessful attempt to learn English through a manual booklet, using

the booklet as his inspiration. What transpires is a plethora of

unrelated passages delivered with passionate fervor under the

spirited direction of Arash Karami.

The opening playlet, “The Leader,” follows a political theme,

illustrating mankind’s willingness to blindly follow a charismatic

figure -- whether or not he has his own head on straight. Brian Munce

directs an energetic production of this didactic exercise.

Mark Bedrad excels as the high-voltage “announcer,” tracking the

leader’s movements for two fawning acolytes (Ron White and Jessica

Barnes). Engard and Lauren Kushin engage in a romantic subplot as

lovers who “meet cute” and connect.

As theater, Ionesco’s plays make for great acting exercises, which

is basically what the OCC Ionesco Festival is all about -- actors

stretching their performance muscles. Don’t look for rhyme or reason

in this production.

* TOM TITUS reviews local theater for the Daily Pilot. His

reviews appear Thursdays and Saturdays.