January 20, 2000
We're beginning to see the light about Richard Allen, whose comic
turn in Play On! was no fluke.
by Rob Kendt
His bio in the program for Play On! at the
Pasadena Playhouse last year was enigmatically sparse, merely thanking director
Sheldon Epps for casting him but naming no previous credits. Could Richard
AllenÑwho played Rev, a pompous Harlem club manager composed of equal parts
Shakespeare's Malvolio and The Dick Van Dyke Show's Mel
CooleyÑbe a novice who just happened to have a natural talent for musical
comedy?
Back Stage West, which honors Allen with a Garland
award for his performance, was not surprised to learn that Allen's endearing
guilelessness and awkwardness as Rev were not lucky byproducts of inexperience
but elements of a meticulous, heartfelt, well-modulated performance. In a
recent interview, Allen filled us in on a diverse and solidly theatrical resum
that began at Carnegie Mellon, continued at London's Drama Studio, and later
included a decades-long career in regional theatre, particularly on the West
Coast.
"I'm what they call a Ô5 Freeway' actor," said Allen,
referring to the Interstate that runs from San Diego and has shuttled him from
Seattle Rep to South Coast Rep, from the Oregon Shakespeare Festival to A Noise
Within, doing mostly classical and straight play roles.
But it has been in off-the-beaten-track musical theatre projects
that Allen has his most auspicious creditsÑElizabeth Swados' The Haggadah, Peter
Sellars' staging of John Adams' I Was Looking at the Ceiling and Then I Saw
the Sky, and George C. Wolfe's Jelly's Last Jam. These
culminated with the role of Booker T. Washington in the Toronto-based world
premiere of Ragtime (he left the show in a contract dispute with
Livent impresario Garth Drabinsky).
That resumŽ may have gotten Allen in the door for Play On!, but he still
had to win over director Epps and his colleagues, choreographer Mercedes
Ellington and music Rahn ColemanÑwho, as Allen recalled, "didn't know me from
Adam."
Epps was impressed. "Richard is both a real actor/singer and
a singer/actor, meaning that he's got a wonderful voice, but he also applies an
actor's sense to telling the story and playing an intention in musical
material," said Epps. This actor's flexibility also helped Allen, a
non-dancer, master Ellington's exuberant dance sequences, including the
jitterbugging "I'm Beginning To See the Light," in which he flung
chorines around in a bright yellow zoot suit.
Perhaps the highlight of Allen's performance was his comic quartet
with some prankster underlings who, to the irresistible vamp of "It Don't
Mean a Thing (If It Ain't Got That Swing)," set out to loosen him up under
the guise of making him more attractive to his beloved Lady Liv. Allen depicted
Rev's attempts to swing with memorable broadnessÑa chicken walk that looked
more like a wounded sashay, some herky-jerky finger-snapping, and
"scatting" that sounded like a sheep being strangledÑbut rooted them
in Rev's needy, pathetic character rather than playing strictly for laughs.
That wasn't always easy, Allen explained.
"In a show so physically comic, sometimes you forget what
actions got you to the point where you are," Allen said. "Sometimes
you want to change what it is you do that gets you there; it feels labored and
stale to you as an actor after you've done it 35 times." What often bailed
him out was the number's improvisational leeway, in which Allen played
beautifully off his co-stars Clinton Derricks, Yvette Cason, and Kevin Ramsey.
Allen also brought special poignancy to Rev's tender ballads,
"Don't You Know I Care" and, with Nikki Crawford's Lady Liv,
"Something To Live For." By the time he reached the euphoric
"I'm Beginning To See the Light"Ñand then weathered the intended
humiliation with heartrending pathosÑthis was no longer the "high-sa-diddy
Negro" of the opening.
"The Rev you see at the end is not the same Rev you see at
the topÑhe's kinder, gentler," said Allen. "He has to be to openly
profess his love, which he's never done, except in aÑand I say this in
quotesÑÔbuffoonish' way."
Those quotes around "buffoonish" may be the most telling
detail about AllenÑa reedy, deep-voiced, serious man whose sardonic sense of
humor is almost unnoticeable at first. Once you catch the point at the end of
his soft-spoken comments, though, they can be rapier-sharp.
"I'm still the enigma hereÑnobody knows what to do with
me," Allen said about his career. "I get cartoon work because of my
deep voice. But to most people I'm still the straight-faced guy who does the
classicsÑprimarily because I don't end every sentence with Ôknow what I'm
saying.' "
The enigma may stay under wraps: Allen is now more interested in
directing theatre rather than acting in it. "I have an opinion and a viewpoint
that can better be served in directing," he said. There has been talk of a
Play On! tour since its smash success at the Playhouse last fall. If Allen
truly intends to hang up his acting hat, his hilarious and moving Rev would
make a fine laurel to rest on.