Saturday, December 8, 2007

Theater Review: Dog Sees God: Confessions of a Teenage Blockhead

By Alexandra Bonifield of North Dallas Gazette

You’re still a good man, Charlie Brown, no matter how they snicker in the high school locker room. It’s your kissing Beethoven (Schroeder) that’s got everybody all shook up.

When did it grow so very dark and dismal around here?

There’s something uncannily familiar about the music soundtrack played behind Inevitable Theatre Company’s production of Bert V. Royal’s Dog Sees God, billed as a “wicked comedy about the adolescent years of America’s favorite comic strip gang.” There’s also something queasily strange about it, too. It’s the perfect underscoring for this offbeat, bittersweet, heart wrenching “day in the life” of “C.B.” and his close-knit gang, now beset with trials of modern teen-aged life. Schultz’s beloved comic strip characters, frozen in innocence and a simpler life in the Sunday Funny Pages, emerge battered, bruised but triumphant in this award-winning 2005 New York stage hit about growing up and coming out. The current production’s music, pop hits of the 70’s-90’s, re-recorded by today’s artists with punker edges and urgency, is just one example of Inevitable Theatre’s producer/director Robert Neblett’s creative genius at play….

I can’t imagine a tighter, more effective staging of this play, anywhere. The oldest person in the show is age 22; their bold artistry attests to the quality of the theatre programs at Collin College, UNT, Midwestern, Baylor, UT Arlington and University of Memphis. Robert Neblett has assembled a strong cast and production staff that outshines many of the longstanding, “professional” ensembles in the metroplex. His actors inhabit their characters with ferocious veracity while impeccably respecting the work’s artistic parameters and director’s vision. First-class set and costumes reflect the play’s brooding, pensive tone.

Life’s a grim place. Snoopy contracted rabies, killed Woodstock and got euthanized. Nobody attends his funeral in support of the grieving CB, except for his disagreeable Goth-clad sister. Van’s Sister (Lucy) is in a mental institution, unrepentant, for setting the Little Redheaded Girl’s hair afire. Lindsay Neinast plays this role with a grounded, matter-of-fact cool that allows haunting glimpses into her loneliness and rage.

Van/Linus, inspiring laughs with breezy comic timing by Drew Wall, is a dope-smoking, wiseacre slacker. College freshman Chelsie Ashton presents a show-stopping unforgettable ‘interpretative dance’ segment as “CB’s sister”, a solo confession revealing the agony and delight of her emergent adult transformation. Taylor Williams unleashes a potent combination of germ- and homo-phobic, sex-obsessed angst in his violent, twisted portrayal of the teen-aged jock Matt (Pigpen). He never misses the mark with his fear-inspired emotional outbursts or disturbing, out of control violence. You hate what he does but understand its origins. As joined at the hip, spoiled high school jerks, Natalie Young and Stephanie Stuart create realistic, high-energy moments of comic relief, which underscore the tragedy of small-minded prejudice and exclusivist behavior. Their characters are cruel, relentless and clueless to the impact they have. They create the milieu, effectively providing the context for violence and disaster. Both actors show real commitment to this play and their art in their fearless depictions and send shivers down the spine.

Dog Sees God

CB (Charlie Brown) is a complicated role. In keeping with the Schultz depiction of this character as an all-around sweet guy, playwright Bert Royal created a kind-hearted, unassuming CB, then added age-appropriate insecurities and challenges. Mournfully missing his dog, CB wonders aloud if anyone believes in God, if anyone thinks dogs go to heaven. He sees no reason to persecute anybody or hold grudges, wants absolutely no part of hurting others. Collin College student James Chandler embodies the Charlie Brown spirit in CB with charm, intelligence and natural conviction. It’s a quiet role but always an interesting one thanks to Chandler’s skill; in the midst of the chaos he inadvertently creates, he never lets the audience forget his character’s innate goodness, or why he’s the glue that holds the group of friends together. Chandler’s performance is multi-faceted, understated and sophisticated, a fine accomplishment for a young actor.

As the play’s victim Beethoven, Jared Brewer offers a surprising spin on victim mentality and behavior, avoiding anything close to stereotype. Brilliant casting on director Neblett’s part! Brewer’s Beethoven is remote, embittered by isolation, fuming with rage and self-hatred; the actor’s physical stature, pleasant voice and good looks play against any preconceptions of what a “victim” looks like, or how one behaves. We live in a society where tragedies like Virginia Tech and the recent Omaha mall disaster seem to appear out of thin air. You watch Brewer’s Beethoven, particularly in the grueling confrontation scene with the powerful Taylor Williams as Matt, and cringe, realizing how such horrors can come to pass. I wasn’t the only audience member wiping away tears.

This production is presented in partnership with GLSEN Dallas, the Gay, Lesbian and Straight Education Network, which “strives to assure that every member of every school community is valued and respected regardless of sexual orientation or gender identity/ expression.” You’re still a good man, CB. I want to wrap my arms around this young cast and promise them the world will reward their generosity of spirit, tolerance and artistic integrity. Can I do that, honestly? If this play inspires more people to emulate their bravery in creating thought-provoking art, in finding good reason to not demonize anybody, my promise might become a reality. May your holiday be merry, bright, peace-filled and include attending this superlative production.

Call 972-215-8059 for tickets or purchase online.

Alexandra Bonifield is an independent stage reviewer and arts advocate.

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