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Cesear's Forum, Cleveland's small resident non-profit professional theatre company, produces intermittently, probing unusual plays, in intimate quarters, "down under" at Playhouse Square Center. Currently on sabbatical, it's most recent undertaking was Michel de Ghelderode's CHRISTOPHER COLUMBUS (OR, DID YOU SAY SPHERE?), November 9th through December 16th, 2007. Known for presenting plays of social commitment and theatre experimentation (unconventional, new or lesser known), COLUMBUS met company mission requirements while offering new artistic challenges. A Belgian playwright, Ghelderode wrote in French (translated by George Hauger) and, although his work defies easy categorization, it is thought to have influenced the New French theatre of the 1950's and the theatre of the absurd. Billed as a satirical "vaudevillian" farce, COLUMBUS, like most of Ghelderode's plays (which were sometimes intended to be performed by marionettes), is a frenetic piece, criticizing and commenting on the human condition while stylistically appealing to the eye, ear and emotions in an attempt to stir the intellect.
The cast of five included two members of the Actors' Equity Association (the union of professional actors/stage managers): John Kolibab and Jean Zarzour; and three non-union actors: Robert J. Williams, Nancy Telzerow and Vincent DePaul. The production was directed by Cesear's Forum Artistic Director Greg Cesear, with Set Design by Michael Larochelle, Costume Design by Aimee Kluiber and Lighting/Sound Design by Christina Leja. Some vignettes were assumed by two actors, splitting the duties over the six week run; Ms. Zarzour appeared the first three weekends, Mr. Cesear the last three weekends. In the vaudville sections, guitar musical accompaniment was provided by Mr. Williams and Mr. DePaul. Harmonica was also utilized in specific characterization by Mr. Williams and as accompaniment to certain spoken passages.
With a quickened pace, the actors portrayed several characters, with the exception of Mr. Kolibab's Columbus, who remained the same throughout. Fusing different eras, the costume changes were quick and furious, reflecting Renaissance robes, 40's suits, Carmen Miranda and nautical attire, angel wings, wigs, Converse sneakers and flamenco heels. The bric-a-brac contrivances extended to the properties that included soap-bubble guns and stuffed pillow fish. Michael Larochelle's large wooden globe filled the playing area and opened to represent the different locations of ship and prison. Lighting and Sound (both live and recorded) further distinguished mood, changes of locale and tempo. In essence, CHRISTOPHER COLUMBUS is a farce, satirizing the title character's search for a new and better world. The play represents escape, both actual and imagined.
The theatre of Michel de Ghelderode is almost always described as bizarre. Criticism of Ghelderode's capricious contrivances, absurdist plots and pessimistic humor has diminished his work from being widely embraced. It is his modernity and unfamiliar frisson which captivates the viewer and defies easy play categorization. An overall view of his work reflects a curious stylistic mixture in a chaotic plot structure. Yet, each play contains interesting details and specific focus. Utilizing both the legend and historical fact of Columbus' life, Ghelderode fuses eras and comments on the action. Baroque and burlesque, the play ultimately presents an ambiguous picture of the human condition while still affirming the spirit.
The Cesear's Forum repertoire strives to be stylistically versatile with works that offer intellectual and artistic vitality. Upcoming season selection and dates has yet to be announced. Decisions will be posted here. Email us with your suggestion/recommendations!
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