Gwen Kingston plays Ellen, and Drew Ledbetter plays Rumsey in “Silence,” part of TDPS’ “Silences and Salutations: Seven One Act Plays.“

“Salutations,” by Eugene Ionesco, directed by Charlotte McIvor

The Program B variation of “Salutations” on Friday night felt a little more tolerable than the Program A version, if only because picking out the differences between the two provided a bit of a diversion from the script’s repetitiveness. It also featured mild cross-dressing, which is always appreciated. Again, the actors committed fully to their physicality, but, again, I found myself hoping every adverb would be the last of the round.

“Play,” by Samuel Beckett, directed by Charlotte McIvor

Samuel Beckett is widely acknowledged to be a clever, clever man. Crowned with a Nobel prize, and be-robed in the praise of his peers, he’s long reigned as Theater of the Absurd’s undisputed king. But even from beyond the grave, he rules with an iron-ish fist, because his estate mandates that his plays (including, of course, “Play”) be staged strictly according to his instructions. Nevertheless, I doubt he would have been posthumously offended if the TDPS actors had maybe slowed their “rapid tempo,” monotone monologues down slightly–just enough to make more of Beckett’s writing actually intelligible–since the actors are literally talking heads.

“Play,” as it happens, is the story of a stereotypical love triangle gone awry told in bits by its participants, who are standing side by side on stage … in huge urns. A spotlight alternates between their faces and the characters only speak when they’ve got the light. All things considered, it’s possible that “Play” benefits from a bit of additional encryption, especially because, toward the end of the script, Beckett instructs, “Repeat play.” But it’s not clear whether or not the periodic muddling of words was an intentional directorial choice, or an accidental side effect of the script. Even the second time around, it felt like there were jokes that didn’t quite catch.

“Silence,” by Harold Pinter, directed by Peter Glazer

In what was perhaps the most effective juxtaposition of the festival, “Play” was followed by another play ostensibly (but not really) about a love triangle. In “Silence,” three actors are, again, situated side by side on stage–only this time, they’re free to move from time to time. Ironically, though, the three characters in “Silence” feel even more constrained than the characters in “Play.”

Maybe it’s because Rumsey (Drew Ledbetter), Ellen (Gwen Kingston) and Bates (Jon Lavranos) feel like real people, as opposed to the purposeful un-characters in “Play.” “Silence” is loosely structured around a series of brief interactions and reminiscences, which give the cast the perfect chance to really go in for the emotional kill. Their meditations on aloneness and bygone times are certainly depressing, but the actors mostly resisted the melodramatic impulse. The result is poignant.

Program B will be performed Fri. Nov. 13 (7pm), Sat. Nov.14 (7pm), Sun. Nov. 15 (7pm), Sat. Nov. 21 (3pm) and Sun. Nov. 22 (3pm). (Source: TDPS site)

Image Source: Shirin Ghaffary, Daily Californian