DOWNTOWN
NEWS
July
5, 2004
THEATER
REVIEW
by Rob Kendt
CONTRIBUTING
WRITER
I
can't recommend you go see Mirror Mirror at the 24th Street Theatre, but if you
do happen to go, don't be late. Everything exciting in this half-cocked
revision of the Snow White tale happens in the first few minutes.
First, there's Tom
Buderwitz's set, whose central playing area is an old-style zodiac, with the
circular shape is mirrored by an impressive wooden mill wheel. Christopher R.
Boltz's lighting is appropriately dim and boggy. Then, with the accompaniment
of John Zalewski's ominous sound design and Brenda Varda's live plainsong
vocals, the set moves: A
drawbridge clatters down at one of the zodiac stage with its chains rattling,
and a scary grate clangs down at another. A tired middle-aged king (Steven
Ruggles) enters to turn the big wheel. He's soon joined by a cane-wielding old
shaman (David Dionisio) as water trickles from their leaky roof; a mysterious
intruder (Randy Irwin) in a tunic arrives with a message.
Sounds
great, doesn't it? Too bad that nothing about this striking opening--which
hauntingly depicts a king presiding over a starved, sinking realm--relates to
what follows. The mysterious messenger later turns out to be a priest intent on
converting the local pagans to Christianity--talk about a buzz killer. The
king, with scant reference to that evocative first scene, retreats to the
sidelines as his young queen (Mary C. Loveless) dies in childbirth and her evil
sister (Joanna Daniels) seizes control.
She
also seizes a magical mirror given to her late sister by Drasil, the ambling
shaman from the first scene. In due time the mirror starts talking to her,
giving her beauty tips and political advice, and the rest is Snow White
history. Well, sorta. You won't find for any dwarves here. Indeed, you'll be
hard pressed to find any levity here at all. Everyone onstage wanders about in
their fairy tale costumes (nice work by Rosa Lopez), intoning lines as if
they're spells, circling each other with their inscrutable calculations, until
a final showdown of mimed mojo powers that's positively B-movie material.
Daniels
in particular has a strikingly stark, eyes-wide-open visage that suggests what
a great Evil Stepmother she could be. But at crucial moments, the script, by
Richard Alger, Tina Kronis, and Debbie Devine, who also directed, leaves her
stranded with no lines, or what's worse, bad lines. "I feel uneasy"
is a typical pointless declaration.
The
rest of the cast doesn't have much more to work with. Irwin is a strikingly
rough-hewn figure as the priest, and Ruggles remains appealing, perhaps because
he's quite superfluous to the central story, and can stand smilingly outside it
all, like a kindly uncle.
Most
in the fairy-tale swing of things is Loveless, who also plays the mute
princess: Her snow-white skin positively glows, her red-lipped face is framed
by clusters of lovely black curls, and she looks smashing in red.
This
production is apparently intended for family audiences, unlike such previous
24th Street fairy-tale deconstructions as last year's disturbing, delightful
Kate Crackernuts. I can confirm that Mirror Mirror is appropriate for all ages
in that there's nothing overtly offensive to community standards (whatever
those are) on display.
But
children as much as adults demand and deserve a ripping good tale, told with
imagination, grace, or at least a sense of play. Mirror Mirror is instead
earnest, ritualistic, and dull as a stage sword.