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The dimly-lit interior of the two-level club is decorated with leopard print carpeting and wood-grain paneling on the walls, which are decorated with ornately framed photographs of barely dressed women. Of course, there’s a stage with a dance pole off to the side of the lower level, where bikini-clad dancers perform for customers. While Spearmint Rhino operates nude clubs in other areas, all-nude establishments are not allowed in San Jose. (The famous Pink Poodle, Santa Clara County’s most well-known strip club, gets around this because it’s in Burbank, an unincorporated pocket surrounded by San Jose.).
Notably, there wasn’t a ribbon-cutting to do Thursday with the womens ivory ballet flats the chamber of commerce’s big scissors and members of the City Council lining up to talk about the activation of a vacant space, The opening did attract a crowd of downtown workers, bartenders and nightlife industry veterans, Club management wouldn’t comment for the record, but sentiments expressed by some at the opening echoed comments by George Mull, spokesman for the operators of the Gold Club and Spearmint Rhino, from 2013..
California Shakespeare Theater’s latest production is both something new and something very old. “Everybody” is Branden Jacobs-Jenkins’ new adaptation of the 15th-century English morality play “The Summoning of Everyman” (or really “Somonyng,” because that’s how old school it is). Jacobs-Jenkins is the inventive and challenging playwright of “An Octoroon,” which Berkeley Rep did last year, itself a wildly metatheatrical adaptation of an 1859 melodrama. A 2018 Pulitzer finalist that premiered off-Broadway last year, “Everybody” is remarkably faithful to “Everyman” in its basic story. God sends Death to fetch somebody who represents Everybody to journey to the afterlife for the final reckoning. Everybody tries to get somebody to come along to help, but all the people and things that seemed so reliable and important in life offer nothing but disappointment.
One twist written into the new version is that the part of Everybody could womens ivory ballet flats be played on any given night by any of five different Somebodies, assigned at random early in the play by balls spilling out of an old-fashioned hand-cranked bingo cage (complete with cheesy Wurlitzer-style music), The rest are randomly assigned the roles of Friendship, Kinship, Cousin and Stuff, Because the lottery is random, it doesn’t necessarily ensure a different Everybody each night, or a different Friendship or Kinship for that matter, The night I saw the show, Stacy Ross played Everybody for the third performance in a row..
Friendship has a hilarious monologue blithely rattling through an exhaustive array of generic topics of superficial friendly conversation, deftly delivered by Lance Gardner the night I attended. Ross was movingly bewildered and lamenting as Everybody, Sarita Ocón and Jenny Nelson amusingly portrayed platitude-offering but similarly unreliable relatives, and Jomar Tagatac was delightfully smooth as bluntly amoral Stuff, or material possessions. All the characters emerge from among the audience, camouflaged in Naomi Arnst’s street-clothes costumes, giving the sense that anyone could be Friendship, or Love, or Death — or, naturally, Everybody.
Initially appearing as a chipper house manager, Britney Frazier becomes a boomingly bellyaching God, and Victor Talmadge is a wearily cranky but accommodating Death, Avi Roque seems at first like a disgruntled patron, and Alexandra Van De Poel as a bewildered young girl in the audience, until they reveal themselves to be other symbolic figures, Director Nataki Garrett and the versatile cast make the most of the enchanting individual moments that make up the play without quite cohering into womens ivory ballet flats a coherent whole, In one marvelously animated scene that comes out of nowhere and then vanishes without a trace, large skeleton puppets designed by Janni Younge do a jaunty dance choreographed by Rami Margron to Macy Gray’s bouncy “Oblivion.”..
It’s a fascinating show, but also a disjointed one with significant lulls in the action, especially in the longer philosophical speeches. The production makes prolific use of voiceover, with the stage empty but voices sounding like they’re coming from specific places around us in Jake Rodriguez’s savvy sound design. It’s an interesting effect, but it happens frequently for extended periods, and disembodied voices are always going to be less interesting than when you have something to look at.
Nina Ball’s appealing set is made up of panels cleverly painted to match the real hills behind them, A few of the panels occasionally shift to show something else, but it’s an effect so subtle that it seems gratuitous, The original morality play has a dogma-steeped point to make about what it takes to get into heaven, which Jacobs-Jenkins sidesteps in favor of a much vaguer credo of being compassionate womens ivory ballet flats to each other, It’s a fine sentiment, but a final shrug of the shoulders about what it all means isn’t exactly satisfying, But then, neither is life, and people who go into that expecting answers aren’t likely to be satisfied either..