Review
“The Mermaid Hour” poetically tackles important issues facing families with transgender children.
“The Mermaid Hour” — Temple of Music and Art, 330 S. Scott Ave. It isn’t easy to be a preteen. Or a parent of a preteen. Throw into that mix a preteen who identifies with a sex other than the sex at birth, and things can get complicated.
That’s the case in Borderlands Theater’s production of “The Mermaid Hour.” The David Valdes Greenwood play, directed by Glen Coffman, brings us into the home of Violet (Jay Garcia) and her parents, Bird (Sean William Dupont) and Pilar (Alida Holguín Gunn). Violet is 12, but acts as though she’s in the midst of her teen years. She was born a he. Her parents are understanding and supportive of her gender identity, though Bird and Pilar have different ways of approaching it. Pilar has done deep research about issues and medical procedures involved. Bird leaves all the heavy lifting to his wife and just tries to understand his daughter.
Violet spends much of her time listening to the podcast “The Mermaid Hour,” which embraces the differences in people and gives solace to transgender and queer communities. As Merperson (Eddie Diaz) coos his affirmations to his listeners, Violet feels he is speaking directly to her. She also spends time with her friend, Jacob (Eduardo Rodriguez), who is gay and completely accepts her, though he can’t return the crush she has on him. She’s a girl; he likes boys. That’s painful for Violet.
This production had some clunky moments, particularly with scene changes, and the acting was uneven. It sometimes comes across as didactic, and can be a bit like an after-school special. But mostly “The Mermaid Hour” poetically tackles important issues facing families with transgender children with insight, tenderness and honesty. Performances are 7:30 p.m. Wednesdays through Saturdays and 2 p.m. Sundays through April 1. Tickets are $27 at 882-7406 or borderlandstheater.org.
Last chance
Cynthia Meier, Patty Gallagher and Holly Griffith, left to right, in “Three Tall Women.”
“Three Tall Women” — The Rogue Theatre, 300 E. University Blvd. The Rogue takes on this difficult Albee play about a woman during three stages of her life with grace and expertise. Christopher Johnson directs a trio of actors who are up to the challenge: Cynthia Meier, Patty Gallagher and Holly Griffith. Final performances are 7:30 p.m. March 22-24 and 2 p.m. March 24 and 25. $38. 551-2053 or theroguetheatre.org.
Stephen Frankenfield, left, and Steve Wood play brothers dealing with their mother’s death in “The Best Brothers.”
“The Best Brothers” — Live Theatre Workshop, 5317 E. Speedway. Stephen Frankenfield and Steve Wood star in this comedy about two brothers dealing with their mother’s death and its aftermath. The Daniel MacIvor comedy isn’t profound, but in the actors’ hands, it is tender and heartfelt. Forgiveness and family are at the heart of this tale, directed by Sabian Trout. Final performances are 7:30 p.m. March 22-24. $20. 327-4242.
“The Lone Stranger” — The Gaslight Theatre, 7010 E. Broadway. The Lone Stranger fights to bring justice to the lawless frontier with his white stallion, Thunder, and friend Tonka. Various times through March 25. $21.95. 886-9428.
Continuing
India Osborne and John Keeney portray lovers with some explaining to do in the comedy “There Is a Happiness That Morning Is,” staged by Scoundrel & Scamp Theatre. Osborne was restrained and unforgettable, Keeney passionate and perfect.
“There Is A Happiness That Morning Is” — The Scoundrel and Scamp Theatre, 738 N. Fifth Ave. Two professors have a hot and very public sexual encounter. They’ve got some explaining to do. The audience in this Mickle Maher play are the students as the profs try to rationalize their lusty undertakings. It’s funny, touching, and in rhyming pentameter. The Austin Chronicle says it is a “ bizarre, brilliant play that is capable of reordering your brain a bit.” And Howlround calls it a masterpiece. Bryan Rafael Falcón directs; John Keeney and Carol Osborne play the lovers. 7:30 p.m. Thursdays through Saturdays and 2 p.m. Sundays through April 1.$22. $15 for students and teachers with identification. 448-3300 or scoundrelandscamp.org.
Broadway veteran Felicia P. Fields lustfully belts out a tune in Arizona Theatre Company’s “Low Down Dirty Blues.”
“Low Down Dirty Blues” — Temple of Music and Art, 330 S. Scott Ave. This isn’t a play, but there’s some terrific blues playing in this Arizona Theatre Company Production. The setup is this: a group of veteran blues musicians assemble for an after-hours jam session, happy to play the authentic blues rather than something like the Jimmy Buffett songs audiences request. The first act is packed with deliciously raunchy songs; the second is more contemplative. But throughout, the blues rule. It’s a can’t-help-but-feel-it two-hour blues concert. Performances are various times through March 31. $25. 622-2823.
Connor Griffin, left, Kelly Hajeck and Alec Michael Coles are part of stellar cast in Arizona Repertory Theatre’s “The Merchant of Venice.” The comedy runs through April 1.
“The Merchant of Venice” — Tornabene Theatre, 1025 N. Olive Road. Arizona Repertory Theatre’s solid production underscores the dark, cruel nature of this Shakespeare play, oddly called a comedy.
There are moments that are cringeworthy: the venom spewed at the Jewish money lender, Shylock, the demand that he become a Christian when he loses a court case, Shylock’s insistence he take the pound of flesh agreed upon when a loan defaults.
Director Brent Gibbs placed this production in the 1930s, when fascism was on the rise, T.S. Eliot’s anti-semitic poems were revered and the long persecution of the Jews continued.
He could just as easily placed it in contemporary times, when Muslims are vilified, insults rain down from the White House and hate speech has become the norm.
The fine cast of University of Arizona student actors were ably led by Connor Griffin who played Shylock, the moneylender, and Alec Michael Coles as Antonio. Performances are various times through April 1. $17-$28. 621-1162 or theatre.arizona.edu.
