March 22, 1995 Talk to Moo by Trent Ernst “Travolta is long overdue.” It is fitting to begin an interview with the cast of Moo, a deeply black comedy, with a discussion of Pulp Fic- tion, a dark, humorous story in it’s own right. The question on everybody’s mind (because it has just been asked) is whether the academy has discrimi- nated against Samuel Jackson by nomi- nating him for Best Supporting Actor, when his role was as key to Pulp Fic- tion as Travolta’s, who is up for Best Actor. The cast seems to think not. “It was refreshing to see the change from the old Travolta, to the new Travolta.” “Yeah. Travolta was a standout.” Finally Chelle Tanner takes the question at face value: “I think we all like to think that ‘no, that doesn’t hap- pen,’ but obviously it does still, and it’s hard to say. For me, I don’t like to be judgmental of the theater world, but then Hollywood is so Hollywood, it’s very possible.” The ice broken, the cast begins to discuss the play in earnest. “Dysfunc- tional relationships is a big deal [in Moo],” says Tracy Swaile, who plays the title character. “No one ever listens to each other. They ramble on about their own lives and don’t listen, and it affects everyone around them.” Stage manager Minna Nikula Traveler in the Dark Pacific Theatre's new production shines By Trent Ernst As would befit a playhouse in the basement of a church (Holy Trinity Anglican, at 12th and Hemlock), there are strong spiritual overtones in this production. But don’t let that stop you, because it’s good. Forgoing any religious, moral and/or philosophical implications, Traveler is good from a purely aesthetic standpoint. Well written, well constructed and well acted, this is a tight, admirable production. Set in a run down country garden, the story revolves around Sam, the middle male in three generations of males. A brilliant surgeon, Sam is pushing middle age, and going through the requisite crisis thereof. His Middle- aged angst is magnified by the recent death of his head nurse/childhood friend, who died on his operating table. To complicate things even further, he is forced to confront his estranged father, whom Sam has rejected along with his father’s faith (papa is the pastor at the local church). Add to the mix a wife, whom he is not sure he loves anymore, and a son who is willing to think for himself, and you have a conflict of Biblical proportions. At the center of it all is this self absorbed surgeon who has no faith in anything anymore, not even his own abilities. There’s an awful lot happening in arelatively short amount of time, and it is to scriptwriter Marsha Norman's credit that this play doesn’t feel too rushed. agrees. “The mother is one way and her daughters are the same way. It kind of falls down a chain, through each gen- eration, so you never really get rid of the character trait, it just keeps going.” Playwrite Sally Clarke recognizes this fact, and uses individual actors to portray up to six different characters. Though each character is distinct, the fact that the character is played by the same actor is symbolic. Bits of dialogue and ideas will be expressed by the same actor in different roles, exemplifying this ‘chain’ of character traits. “I think that it’s interesting... how each genera- tion ends up influencing the next, and it really becomes clear the way Sally Clark wrote the play and has these dou- bling up of characters.” Rory Feorie, who plays Harry, describes it as a ‘cy- clical pattern.’ “.. This [cycle] will never stop. There will always be Harry Parkers in their lives, and they’ ll never get out of it. It’s about abusive relationships, it’s about control. You get what you want out of a relationship, and you don’t even realize the consequences. It’s about the use and abuse of people.” Chelle agrees: “People can affect other peoples lives. The mother has a tremendous impact on her three daugh- ters, and even her husband. The father’s distance toward the family and towards what is really happening affects the girls Kudos go to Tim Dixon, who plays Sam. He is on-stage almost the entire running time of the play, and has the lion’s share of the dialogue. He manages to keep up the emotional intensity throughout, and his acting is top notch. All the performers are strong. Erla Faye Forsyth plays Sam’s wife Gloria, who has spent a lifetime at the bottom of her husband’s priority heap. Their son, Stephen is played by twelve year old Joel Stephanson. But Ron Reed, who plays Sam’s Father Everett, is the stand out performance. With just a few streaks of white in his (fortunately thin) hair, he be- comes the doting old grandfather. He brought the character to life. It was a shock to find out later that he is only 38. Tim Dixon as Sam in Pacific Theatre's Traveler in the Dark The Other Press and their relationships with men. Those women affect their daughters. It’s about how the things that people do to each other effect them, and how we let them happen. It’s about how we let other people have control over our characteristics, over our feelings and emotions.” “Another important aspect is self deceit, about lying to yourself,” Says Tracy. “All these characters deny their feelings, deny their emotions, and in turn end up ruining themselves and everything around them. How they feel towards other people, how they feel toward things, they don’t deal with bringing the audience “backstage.” “Moo is not the most politically correct play in the world,” says Rory, in response to a letter in the March 8th edition of the Other Press complaining of the violent imagery in the Moo poster. Chelle says that the violent themes bothered her the first time she read the script. “I didn’t want to be a part of the show.... Some of the images were disturbing, but I wasn’t reading it as a black comedy. Some of the things that happen are terrible, but that’s re- ality. And on the poster. If that were a man with a gun, would anyone have looked twice? I don’t think so.” Moo was not written to leave the audience feeling comfortable and com- placent, and the subject matter may not be to everyone’s taste. But, as the cast of Moo so succinctly pointed out, the point of theatre is to get people think- ing. Moo is only on ‘til the 25th, so get your butt in gear and go see it. Call 527-5488 to reserve your tickets. anything. They keep everything bottled up inside them, and it ends up explod- ing in their faces.” The actors love working in the smaller, intimate setting of the Studio theatre. There is a different dynamic, or flow of energy than on the main stage. On the mainstage it’s like your watching a movie. There is this wall between the audience and the actors. In the studio, the energy is more immediate, the connection more intimate. “I can be as in your face as I like,” Says Rory. The smaller venue also offers more room to be creative. In Moo there are no traditional entrances or exits. Each character “leaves” or “enters” a scene through lighting effects. All costume changes are done on stage as well, " Gilbert: "I play 4 di orderly." oe I play Maude in the first that Maude is really dut orld. She comes acro retty out there. The f the black comedy si The play doesn’t offer any text- teally prod at Moo. I book answers. The audience is left with the sense that this dysfunctional family is moving in the right direction, but the play doesn’t seek to resolve all the problems that it raises. The audience is left to come to it’s own conclusions. Traveler in the Dark’s run is over. Pacific Theatre’s next production is The Foreigner, an “antic” comedy that opens on March 31, and runs intermittently until April 22. The Foriegner's run will be interupted for the Tickets are available by calling CBO at 280-2801. it could very “I play Moo’s older sister. Id use she is:so opposite. She's : é are the only two ways th: ryone else around her. And b ater, but you can take it ed in situations that | elf digging himself i ith this woman, a three times, and th but he’s ar niet, alot."