STAGE

Theatre Memphis stages drama 'The City of Conversation'

Jon W. Sparks
Special to The Commercial Appeal
A family political faceoff brings dire consequences in "The City of Conversation" with (from left) Chris Proud, Karen Mason Riss, Jase McCommon and Shannon Walton on the Lohrey Stage at Theatre Memphis, Oct. 21-Nov. 6.

In the final stretch before election day, can you handle a drama about politics?

Jerry Chipman, director of “The City of Conversation,” votes in the affirmative on that proposition. The critically acclaimed play opens this weekend on the main stage at Theatre Memphis. It takes place between Jimmy Carter’s waning presidency in 1979 and the dawn of Barack Obama’s turn as chief executive — a time when the atmosphere of Washington politics turned from deliberation, negotiation and compromise to bitter partisan wrangling.

The story, Chipman says, isn’t set on the Hill, but rather in a swank townhouse in D.C., where Hester Ferris — a power hostess much like the late Pamela Harriman — holds cocktail parties and dinners for the movers and shakers. “This is where they discussed issues to lay the groundwork for getting bills passed or issues settled,” Chipman says. “It looks back at Washington when it was a city of conversation instead of a city of accusation.”

Hester is a righteous liberal who pushes for her causes behind the scenes. And while the play is very much about the political process, it is also about a family in crisis. Early in the drama, Hester’s son, Colin, comes back from attending the London School of Economics with a girlfriend in tow. She is a devoted conservative and is herself hungry for power. Mother and future daughter-in-law clash with great articulateness, while Colin is caught in the middle.

“The play looks at how opposing views can not only split a country but can split a family,” Chipman says. “The son becomes very much the prize between these two women, and along the way a lot of issues get discussed, many of which echo current debates.”

Whether you are conservative, liberal or elsewhere on the spectrum, you’re likely to find something to like and something to dislike. “The playwright cleverly represents both sides,” Chipman says. “These two ladies each have an opportunity to throw heavy darts at the other’s party.”

It would take quite a cast to manage all this, and Chipman is pleased with his lineup. “Hester is a terrific part and calls for a strong, articulate lady, so it’s a great role for Karen Mason Riss,” he says. Riss has made something of a specialty of strong women’s roles, including “Mothers and Sons,” “4000 Miles,” “The Royal Family” and “"A Delicate Balance.”

The director has gone with two newcomers for the roles of Colin and his girlfriend/wife Anna. Christopher Proud, coming from Pennsylvania and New York, and Shannon Walton, coming from Missouri and California, bring impressive acting credentials to the TM stage.

Oct. 21-Nov. 6 at Theatre Memphis on the Lohrey Stage, 630 Perkins Ext. Showtimes: 7:30 p.m. Thursdays; 8 p.m. Fridays and Saturdays; 2 p.m. Sundays. Tickets: $25; $15 students, $20 seniors 62 and above and military personnel. Info: theatrememphis.org and 901-682-8323.

Creepy ‘Cuddles’

New Moon Theatre Company has established a reputation of pushing the boundaries with its productions of edgy new works and demanding classical ones. It especially goes for the gut each year around Halloween: Last year it was Shakespeare’s “Titus Andronicus,” and previous years' offerings included “The Woman in Black,” a gripping “Frankenstein,” a blood-drenched “Bug” and “Look Away, A Civil War Zombie Tragedy.”

This year, it goes for the jugular with “Cuddles,” a heartwarming story of two sisters. OK, heartwarming it’s not. It’s the story of teen vampire Eve who has never been out of her attic and her human sister and keeper Tabby. All Eve knows of the world is what Tabby tells her. The older sister wants to protect her sibling, even allowing Eve to drink some of her blood. But desires are a difficult thing to control.

At the helm is Tony Isbell, one of the savviest directors on local stages, including "Raised in Captivity,” “Glengarry Glen Ross,” “Rapture, Blister, Burn” and “Doubt,” all at Theatre Memphis, and “4000 Miles” at TheatreWorks, "Agatha Christie's The Mousetrap" at the Bartlett Performing Arts and Conference Center, and many other plays and venues.

The cast of two includes veteran Tracie Hansom, who has been in numerous productions, and playing Eve is relative newcomer Hayley Hellums, who, in a trailer for the play, creepily intones: “Rule No. 5: Never bite the neck.” Hellums is a junior in the BFA program at the University of Memphis with a concentration in performance.

“Cuddles” runs Oct. 21-Nov. 6 at TheatreWorks, 2085 Monroe Ave. Showtimes: 8 p.m. Fridays and Saturdays; 2 p.m. Sundays. Tickets: $20; $15 seniors/students/military. Info:  901-484-3467 and NewMoonTheatre.org.

Step it up

There is plenty of worthy entertainment going on this weekend, but I’m giving a top recommendation to Ballet Memphis“Next Steps,” a remarkable presentation of three provocative, inspiring, hilarious and gorgeous original works.

Steven McMahon, associate artistic director of the company, created and curated the program and choreographed one of the pieces. The title refers to where the art form of ballet might evolve to maintain its artistry and beauty while embracing society’s changes.

Three choreographers give three vivid visions of dance, each springing from a concept and going to surprising and delightful destinations.

The opening piece (“Sa Voix”) by company member Julie Marie Niekrasz looks at ballet in the Romantic era, particularly the role of women who were idealized and oppressed and given relatively little regard for their demanding artistic efforts. The piece, drawing connections to what are sometimes only slightly improved contemporary times, portrays the ethereal dancers but also lets them get to some inventive and nitty-gritty moves among the four couples.

McMahon’s piece, titled “Vanguard,” is, among other things, intended to honor the individual as well as the ensemble, and the result is breathtaking. There is a lot of intense movement going on, thrilling and energizing. The music includes John Adams’ “The Chairman Dances — Foxtrot for Orchestra,” with its exotic and exuberant yet minimalist currents propelling the high octane moves of the dancers. It was superbly exhausting.

The final piece, choreographed by Mark Godden, is titled “A Distant Glimmer: Catherine de Medici.” Now, Catherine held an extraordinary place in history: Born into the famous Florentine family and married into French royalty, she would become Queen of France from 1547 until 1559, as the wife of King Henry II. Her influence in politics and the arts was considerable and makes a ripping good story, but even more so when Godden’s wickedly funny approach is applied to it. It’s presented in a way that will be familiar to devotees of Monty Python’s Flying Circus, with ostentatious narrative, witty projections, slapstick and comic timing blended with some flat-out wonderful dancing. The audience kept breaking out in laughter, and that’s not all that common at a performance of the ballet.

But Ballet Memphis is an uncommon and uncommonly good company. And “Next Steps” is one of the most satisfying performances you’ll find on any stage in Memphis.

Ballet Memphis presents “Next Steps” through Sunday at Playhouse on the Square, 66 S. Cooper. Showtimes: 8 p.m. Oct. 21; 2 p.m. and 8 p.m. Oct. 22; 2 p.m. Oct. 23. The matinee on Oct. 22 is community day and all tickets are $7 and must be purchased in advance and online. Tickets: $10, $25, $45. Info: balletmemphis.org and 901-737-7322.

Hayley Hellums stars in New Moon Theatre Company's "Cuddles," playing Oct. 21-Nov. 6 at TheatreWorks.
Hayley Hellums stars in New Moon Theatre Company's "Cuddles," playing Oct. 21-Nov. 6 at TheatreWorks.