Category Archive for: ‘Woody Weingarten’
With all due respects to Honest Abe, “The Madwoman in Volvo” is not a show of the people, by the people and for the people.
It is, instead, of the women, by the women and for the women.
Men in the audience more likely than not are lug-alongs.
Trophy males even.
For the estrogen set, “Madwoman” is an intermission-less, autobiographical comedy at the Berkeley Rep that rockets through its hour and a half length.
Well, for me at least, it felt half again that long.
Despite writer-performer Sandra Tsing Loh’s consistently bright one-liners, extreme perkiness and gifted physical comedy.
Despite her being imaginatively supported by two versatile, veteran female actors in what might otherwise have been a more routine stand-up routine.
Despite her delving into menopause, adultery (with her agent cum second husband), midlife crisis, therapy, meditation, motherhood (and two teenage daughters) and a legion of other heavy topics.
Focusing periodically on California chic.
Or items that Marin County bubble-ites can relate to (like an affinity for kale).
Loh, an NPR personality and memoirist, is hilarious in reliving her trying to urinate in a Burning Man sandstorm, and her two buddies are uproarious as blotto attendees at a divorced parents party.
Other moments also rank high in hilarity.
Loh primarily thinks of herself as a humor monologist in spite of starring in this three-woman theatrical confessional based on her own best-selling book that accentuates menopause.
She clearly has a compulsion to confront what she’s previously said needn’t be limited to “being dried up and creepy and old and brittle and unattractive.”
Directed by Lisa Peterson, the Rep’s associate director who’d guided this production’s previous runs at Pasadena Playhouse and South Coast Repertory, “Madwoman” features a skinny backup, Shannon Holt, and one not so skinny, Caroline Aaron.
They change costumes and characters faster than the speeding bullet Superman is faster than: men, women and almost everything but a menopausal screaming hairy armadillo.
Loh, in contrast, sticks to one basic outfit: a dark leather jacket, jeans, a T-shirt with an imprint of a rocket, and, at the start, a beret and dark sunglasses.
The set is skimpy and virtually superfluous, but that doesn’t matter.
Nearly everything else is fodder for a gag (although there are scattered moments of poignancy), with the funniest, in my opinion, being Aaron’s rendition of a therapist coming unglued.
“Madwoman” begins with Loh goading the Berkeley audience into a collective primal scream about Trump’s victory. And it ends with a reference to her fear of an “orange-haired apocalypse.”
Sandwiched between are references to feminist Germaine Greer, whose female eunuch-ist book I remember, and inferno-ist Dante, whose other name (Alighieri) I usually forget.
Throughout the performance, women all around me squealed with soprano laughter and delight.
Their baritone companions, however, like me, struggled unsuccessfully to unfreeze their stone-faced expressions.
“The Madwoman in the Volvo” plays at the Berkeley Repertory Theatre’s Peet’s Theatre, 2025 Addison St., Berkeley, through Jan. 15. Night performances, 7 p.m. Sundays and Wednesdays, 8 p.m. Tuesdays through Saturdays, 7 p.m. Wednesdays, Thursdays and Saturdays; matinees, 2 p.m. Saturdays and Sundays. Tickets: $34.50 to $75, subject to change. Information: 510-647-2949 or www.berkeleyrep.org.