- OTHER MEDIA
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- ‘Giant Bones’ intrigues, challenges San Francisco audience
- StarkSilverCreek May 17, 2010 (Clinton Stark)
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- The world premiere of director/playwright Stuart Bousel’s Giant
Bones, a clever assimilation of four stories by author Peter S. Beagle,
opened over the weekend at EXIT Theatre in San Francisco. It’s an
intriguing and challenging piece that once again demonstrates the power
of small, black-box theater. In the tech world, this would be a start-up;
an abundance of fresh ideas and new thinking, mixed together with exuberant
talent and grandiose vision.
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- It’s not mainstream theater, nor should it be. If the idea is
to provoke, as Bousel suggested to us earlier in the evening during an
interview, then mission accomplished. There are so many layers of abstraction,
some obtuse others verbally acrobatic, that it can be intense. At times
I thought my mind would explode.
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- Without giving away too much, the story revolves around a touring theater
company. Set in medieval times, there is a strong fantasy element, occasionally
reminding me of Dungeons and Dragons, especially the visually striking
giant that sits atop a mountain, awaiting a passerby to take prisoner.
- There is a play-within-a-play. A fourth wall might be broken, or not.
Elements of myth, magic, mystery and absurdity combine to create a land
that sears the mind with its originality.
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- A talking fish plays a key role in helping an ingenue escape a marriage
with the much older King. Then they too become fish. There is a power lusting
Queen who toys with magic, with amusing results.
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- At the center of all the mayem, trying to maintain order is Dardis,
played by Rik Lopes, in a fabulous performance. He chastises the troupe,
urging them to maintain focus, while struggling to keep their profile in
the world of live theater from slipping further. Lopes can take the simplest
of lines and with well-timed, natural gestures give it striking depth.
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- Jay Smith as The Jiril is a commanding, if slightly perturbing, presence.
His tall lanky frame and shaved head, together with deeply etched features
would be at home in Clive Barker’s Hellraiser. That he opens the play,
reading a children’s story with a booming voice, is part menacing,
part fantastical.
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- The music performed live by the actors, including drums and renaissance
instruments, enhances the magical quality of the story unfolding before
us.
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- I’ve never read Peter S. Beagle before, so I can’t comment
on how successful Bousel is in adapting his work for the stage. But there’s
no doubt that he demonstrates keen ability in weaving together so many
disparate elements and staging a creative and immersing production. And
all of this with the most minimal of sets; there are a few simple red drapes
to the sides, some chairs, and minor props. The rest is left to the cast
to bring to life.
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- It left me impressed with what good, vivid story-telling can achieve.
Loni and I both felt like we’d been on a wild adventure to a far-away
land. Our minds were melting every-so-slightly when we exited into the
cool San Francisco air, but it was a memorable evening. What a journey!
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- Recommended, but be ready for some innovative, black-box-style story-telling.
I agree: “Theater is all about the surprises.”
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