Absurdist comedy just comes off as absurd
MICHAEL SMITH World Scene Writer, 04/03/2004
(From left) Thumb, played by Anthony Batchelder, takes notes during Lear's, played by George Nelson, lecture about the virtues of the indecipherable new language called Ptydepe in Theater Club's production of "The Memorandum" at Nightingale Theater. SHERRY BROWN / Tulsa World
"What does it all mean?"
That's the question at the heart of "The Memorandum," Theater Club's production of playwright Vaclav Havel's absurdist comedy, which opened Thursday at the Nightingale Theater.
"Why should we care?" would be a more appropriate query regarding this stale staging.
The manager of an anonymous 1960s-era office wonders what it all means when he attempts to peel back layer after layer of red tape at his place of employment -- a tribute to bureaucratic inefficiency if ever there was one -- and finds himself going in circles.
The term "absurdist" points to the fact that the play's setting is in a realistic situation yet fitted with ludicrous conditions, which are introduced early in the play in the form of Ptedype.
Not familiar with Ptedype? That's OK, neither are any of the employees of the company. The manager, Mr. Gross (portrayed by Dale Sams), learns that Ptedype, a new synthetic language aimed at enhancing office correspondence, is about to be introduced.
But he didn't give the order. And no one understands the language. So apparently no one can decipher the memo for Gross.
Or at least they can't until they receive authorization, or complete Ptedype training classes, or receive the proper documentation for such a radical move, or suffer through one of the play's countless double-talk sessions of inanity.
Just know that while Gross has the title of director at this operation, he's certainly not the one running the show. In two hours time, no evidence of the company's true effort comes to light, but the workers find ample opportunities for coffee breaks, smoke breaks, birthday parties and primping.
All of this is accomplished by director Jenny Jackson's troupe of 11 actors -- a largely marginal cast that outnumbered the audience on opening night -- with a fleeting bit of amusement but nothing more inspired than that.
Sara Wilemon is as appealing as always as a put-upon secretary, Mark Miller is perfectly pompous as a loony linguist, and John Cruncleton's office set is quite effective.
But there should be no irony lost in the fact that the play's most effective performance is delivered by Ed Sullivan, playing a grinning, head-nodding sycophant who has no lines.
What does it all mean? Former Czech Republic president Havel certainly wrote this with thoughts on a totalitarian society in mind, of the power of politics and the upheaval of regime changes.
He meant for audiences to think about the consequences of taking such actions, but he also meant for them to be entertained and to laugh a few times.
But comedy seems as foreign to this presentation as Ptedype. The only thing that can be said with certainty of this production is that it qualifies as absurd.
Theater Club's production of "The Memorandum" continues with 8 p.m. performances Saturday, Thursday-Friday and April 10 at the Nightingale Theater, 1416 E. Fourth St. Tickets are $8 and may be reserved by calling 557-8012.