Welles and Olivier Square Off at MTC Welles and Olivier Square Off at MTC

Orson’s Shadow, now at the Marin Theatre Company, imagines a Clash of the Drama Titans as it might have occurred in 1960, when the aging Titans were brought together for an event. This event, designed by Austin Pendleton, assembled Orson Welles ( formerly Citizen Kane,) Sir Laurence Olivier (formerly Henry V,) Vivian Leigh (formerly Scarlett O’Hara and almost-formerly Mrs. Olivier,) with London theatre critic, Kenneth Tynan. All are looking for an updated identity.

Tynan has put this group together. The men plan to energize their careers with the production of an absurdist modern play, Ionesco’s Rhinoceros. Olivier’s young new love, actress Joan Plowright, whose own career is just ascending, will play opposite “Larry.” Orson Welles will direct -- or so he thinks.

Old grudges and distractions threaten to dismantle the operation, and the struggle to determine who’s in charge is further complicated by the unexpected arrival of Vivian Leigh, dotty and fragile, on her way to New York to revive her own career on a different stage. Tynan’s health is failing; Welles continues to battle his own weight; Olivier is infected with his wife’s mental “plague;” Plowright stands by her man; and the omnipresent young stagehand, Sean, is dazzled by the glamour of it all. Background to the action is explained directly to the audience by Tynan, whose cough and stammer vanish while he’s doing it. Until the epilogue, Tynan is the only character who will address the audience.

It’s all theatre, all the time, and Orson’s playwright knows this territory well. In his own career, he’s been a director, an actor in stage and film, and the creator of two other works, Uncle Bob and Booth. Pendleton’s plays, this one included, often premiere at Steppenwolf in Chicago, where he has been a member of the ensemble for almost twenty years.

Directed by former Artistic Director, Lee Sankowich, Orson’s Shadow is launching MTC’s new season with this story about theatre. The plays’s dialogue, situations and background seen valid, and there are some engaging scenes of Orson’s dieting, Sean’s diagnosis of Tynan’s emphysema, the celebration dance, the epilogue. But for the most part, the characters remain onstage, unreachable. And it’s difficult to work up much sympathy for people who used to be famous and can’t stop talking about it.

They do indeed talk. Almost the whole first scene is Tynan’s witty exposition of all that’s happened up to now. Then Orson’s character grumbles about old grudges with RKO and with Olivier. But the depiction of Olivier is surprising, as he fires off such speedy dialogue, the audience can’t keep up with it. Then Vivian Leigh’s character appears with an accelerated nutty charm, (though she has nothing to do with the Rhinoceros story,) while Joan Plowright, the survivor, is given very little to say.

As always, however, Marin Theatre Company has found fine actors for these parts. Steve Irish is a thoroughly believable, full-voiced Orson. Liam Vincent sustains the ill, but still flamboyant Tynan. Nicholas Hormann’s Olivier is cool and professional, except in the presence of his wife, Vivian, sensitively played by Amy Resnick. Deborah Taylor Barrera as Joan has the stage to herself in the epilogue, when she shows how much more she could do, if allowed. And Zac Jaffee carries off the role of the stage-struck stagehand.

Kurt Landisman’s lighting, especially in the first scene, when Orson is being introduced, hints at the angular dimness of Citizen Kane, and Erik Sinkkonen’s spare backstage set unites both scenes.

Orson’s Shadow will play at the Marin Theatre Company, 397 Miller Avenue in Mill Valley, through October 8. Special events will take place throughout the run. For full information, see www.marintheatre.org or call the box office, 388-5208.

Orson’s Shadow, now at the Marin Theatre Company, imagines a Clash of the Drama Titans as it might have occurred in 1960, when the aging Titans were brought together for an event. This event, designed by Austin Pendleton, assembled Orson Welles ( formerly Citizen Kane,) Sir Laurence Olivier (formerly Henry V,) Vivian Leigh (formerly Scarlett O’Hara and almost-formerly Mrs. Olivier,) with London theatre critic, Kenneth Tynan. All are looking for an updated identity.

Tynan has put this group together. The men plan to energize their careers with the production of an absurdist modern play, Ionesco’s Rhinoceros. Olivier’s young new love, actress Joan Plowright, whose own career is just ascending, will play opposite “Larry.” Orson Welles will direct -- or so he thinks.
Old grudges and distractions threaten to dismantle the operation, and the struggle to determine who’s in charge is further complicated by the unexpected arrival of Vivian Leigh, dotty and fragile, on her way to New York to revive her own career on a different stage. Tynan’s health is failing; Welles continues to battle his own weight; Olivier is infected with his wife’s mental “plague;” Plowright stands by her man; and the omnipresent young stagehand, Sean, is dazzled by the glamour of it all. Background to the action is explained directly to the audience by Tynan, whose cough and stammer vanish while he’s doing it. Until the epilogue, Tynan is the only character who will address the audience.

It’s all theatre, all the time, and Orson’s playwright knows this territory well. In his own career, he’s been a director, an actor in stage and film, and the creator of two other works, Uncle Bob and Booth. Pendleton’s plays, this one included, often premiere at Steppenwolf in Chicago, where he has been a member of the ensemble for almost twenty years.

Directed by former Artistic Director, Lee Sankowich, Orson’s Shadow is launching MTC’s new season with this story about theatre. The plays’s dialogue, situations and background seem valid, and there are some engaging scenes of Orson’s dieting, Sean’s diagnosis of Tynan’s emphysema, the celebration dance, the epilogue. But for the most part, the characters remain onstage, unreachable. And it’s difficult to work up much sympathy for people who used to be famous and can’t stop talking about it.

They do indeed talk. Almost the whole first scene is Tynan’s witty exposition of all that’s happened up to now. Then Orson’s character grumbles about old grudges with RKO and with Olivier. But the depiction of Olivier is surprising, as he fires off such speedy dialogue, the audience can’t keep up with it. Then Vivian Leigh’s character appears with an accelerated nutty charm, (though she has nothing to do with the Rhinoceros story,) while Joan Plowright, the survivor, is given very little to say.

As always, however, Marin Theatre Company has found fine actors for these parts. Steve Irish is a thoroughly believable, full-voiced Orson. Liam Vincent sustains the ill, but still flamboyant Tynan. Nicholas Hormann’s Olivier is cool and professional, except in the presence of his wife, Vivian, sensitively played by Amy Resnick. Deborah Taylor Barrera as Joan has the stage to herself in the epilogue, when she shows how much more she could do, if allowed. And Zac Jaffee carries off the role of the stage-struck stagehand.

Kurt Landisman’s lighting, especially in the first scene, when Orson is being introduced, hints at the angular dimness of Citizen Kane, and Erik Sinkkonen’s spare backstage set unites both scenes.

Orson’s Shadow will play at the Marin Theatre Company, 397 Miller Avenue in Mill Valley, through October 8. Special events will take place throughout the run. For full information, see www.marintheatre.org or call the box office, 388-5208.