‘Every Brilliant Thing’ at Synapsis

To begin with, let me just say that the most impressive thing about actor Chuck Supple’s tour de force performance of “Every Brilliant Thing” in the intimate Synapsis Union space, was how believably natural his ongoing scripted (and unscripted) interactions were with the audience.

Not an easy thing for either him — or audience members who were chosen to be directly involved throughout in different ways — to accomplish. Especially since the flow of the original work (written by Duncan Macmillan with Jonny Donahoe) uses not only their words, but those of the ever-changing, personal input of every, different audience.

And the “every brilliant thing” referred to in the title is actually those on an ever-expanding (since childhood list) made by Supple’s character to deal with his mother’s suicide. Something he is still trying to deal with years after she “decided life wasn’t worth living” — in spite of the bits and pieces of “brilliant things” that made it so.

Therefore, it’s not an easy process for either him (or those interactively involved from the audience) to follow as the number of both traumatic, and uplifting, things continues to grow. But, it’s always lightened with remembered touches of humor.

Each based on personal, painful or pleasant incidents or objects — memorable “things” that are individual “puzzle pieces” he’s poignantly searching explanations for choosing to include and be there. And why that puzzle most likely will never be completed because “brilliant things” always change as the “carefully numbered lists” in his life continue.

All of the above is integrated into a fascinating exploration of seeking explanation of why other people — no matter how many “brilliant things” are in their lives — might decide they’re not enough. And, that’s what this production is basically all about; to be aware of those who feel that way. Before it’s too late for personal love and intervention.

And, the show’s astute director, Leira Satlof (along with production manager, Sydnee Stanton), has insightfully addressed staging these situations. While Supple’s marvelous performance and his seamless interactions with the audience intermingle laughter and tears. (But, be aware that the subjects of mental health and grief and related issues are explored throughout.)

In any case, additional kudos go the “various audience members” who so bravely “became” (for one performance only) Supple’s “remembered” important people in his life as: Vet; Dad; Mrs. Patterson; Sock; Sam; and Lecturer. As well as the audience itself.

The entire show is a warm-hearted and often surprisingly funny life journey of a man who is still trying to figure out what everything in his life (and everyone in it) has brought him to where he is today. And, what he can add on to his list to keep on going to tomorrow.

Like the recently Tony-nominated Broadway production of the play, the remaining performances by the superb Supple (and his every-changing audience “actors”), is sure to continue to be a captivating, one-of-a-kind experience.

And, it reminds everyone involved that even in the middle of life’s ups and downs, there’s an underlying message: Communicate with each other and appreciate all of the “brilliant things” in your life. No matter what.

“Every Brilliant Thing” continues on Friday, Nov. 13 & Saturday Nov.14 at 7:30 p.m.; with a closing matinee at 2 p.m. on Sunday, Nov. 15 at the Synapsis Union venue,1675 Union, Eureka.

For tickets go to this link.

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‘Rhinoceros’ at Cal Poly Humboldt

When Cal Poly Humboldt’s Department of Dance, Music & Theatre chose “Rhinoceros” (Eugene Ilonesco’s iconic, scathing swat at World War Two-era Nazi Germany’s justification of accepting a humanity-destroying idea as “truth”), little did they know how unsettlingly timely their current production would still be.

Taking the playwright’s “theatre of the absurd” approach as his guide, the director & commedia dell’arte expert, the brilliant James Peck, has accomplished astonishing artistic results from every member of his student cast (and impressive technical crew).

The split-second timing of the demanding dialogue delivered amid outrageously over-the-top physicality was a joy to behold from curtain to curtain, all framed to perfection by the visually warped, abstract scenic design pieces that (like Ionesco’s quirky characters’ increasingly erratic behavior) were cleverly created to keep the audience mesmerized and off-balance.

Of course, this was a deceptive tactic in the middle of the symbolic moral chaos created to occur between “logical thinkers” and those whose individual minds could be changed through the relentless repetition of another, conflicting idea. Another version of “truth” that could then be followed with unquestioning “herd” acceptance.

Therefore, barriers between the believers (and non-believers) became more pronounced — and dangerous to anyone who would not conform to the group-think of the crowd. A crowd that increasingly morphs into the threatening herd of rhinoceros that is steadily invading every aspect of the town and everyone living there.

In the play, the town is a small, provincial village in France. The central character is Berenger, an “apathetic and disheveled office worker” who ultimately remains as the only “human” left with an opinion/mind of his own.

But, before that happens, the stage and aisles of the Van Duzer are overrun with madcap, comedic mayhem as he (and the rest of the characters) must deal with (or become one of) the ever-growing herd of collectively-mindless, angry and destructive, rhinoceros invaders.

Outstanding in the demanding, leading role of Berenger is Joe Carter; closely followed in excellence by Hudson Lauer as his uptight friend, Jean (whose physical comedy skills are exceptionally hilarious); and Ava Brown as Berenger’s charmingly ditzy girlfriend, Daisy.

More strong performances in featured roles are delivered by Nicholas Woolery as The Cafe’ Proprietor & Botard; Rayluk Smith as The Old Gentleman; Caleb Pierce as The Logician; and Peter Nielsen as Dudard.

Rounding out the equally-strong ensemble are Sam Hall as The Waitress & Mrs. Boeuf; Aspen Benz as The Grocer & Mr. Papillon; Cadynn “Cade” Tricamo as The Grocer’s Wife & A Fireman; and Juliette Mauerman as The Housewife.

On opening night, everyone in the cast had obviously been expertly trained by director, Peck, to broadly expand their absurd personas with split-second timing and details that resulted in an unusually smooth and powerful level of performance at the very beginning of the show’s two weekend run.

Technically, the production was equally superb thanks to technical director Stuart Juoeika; assistant director & stage manager Centauri Starfall (assisted by Luna Urakov & Victoria Vasquez); the fantastic scenic design by Casey Vaughn; vivid lighting design by George Lattie & Leon Schurman; marvelous music composition/sound design by Keiren Miller, Kieran Edward Specht; and amazing shadow puppet animations by Jess Peck.

The character-defining costume design by Cindy Shepard (especially for “The Rhinos”) enhanced by the hair/makeup design of Ysabella Smiley; the wig design by Haylee Potter; impressive puppets, properties & mask designs by Emma Lubin, assisted by Inez Taylor.

Peerless sound & lighting technician, Pablo Mendence; light board & sound board operators, Quentin Chase, Avi Kaplan, Ileana Novoa, Tia Villanueva; backstage run crew, Anthony Argueta, Celeste Blake, Monica Espinosa, Ranika Valenzuela; production manager, Michael Thomas; house manager, Annie Kay Rocci; and publicity & poster creator, Casey Vaughn.

CPH’s phantasmagorical “Rhinoceros” is a stunning theater-going experience that fearlessly exposes society’s never-ending conflict between the humanity of critical thinkers and those whose warped views have morphed their inner beasts into a cult of twisted “truth.” But Ionesco does so with satirical wit and wisdom.

Bravo & brava to director James Peck and his remarkable cast & crew who have bravely brought it all to chaotic life! It’s a musn’t miss production that runs for three more performances:

Friday, Nov. 13 & Saturday, Nov. 14 at 7:30 p.m. and Sunday, Nov. 15 at 2:00 p.m. in the Van Duzer. Tickets are $13 general; $11 seniors; free for CPH students with I.D. Purchase them at this link.

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Beti Webb Trauth has written about the Humboldt County local theater scene for a long, long time.