By: David de Young
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Annie Enneking as Gertrude - Photo by Richard Fleischman
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Punk rock fans and theater lovers unite!
The weekend of January 25th, The Workhaus Playwrights’ Collective’s production of the world premiere of Deborah Stein’s God Save Gertrude opened at the Playwrights’ Center. Billed as “a rock concert with characters” and alternatively “a punk rock riff on Hamlet,” Gertrude is the central character in this drama that takes place in an unnamed war-torn country. The show is directed by Randy Reyes and features original music by David Hanbury. It stars Annie Enneking in the title role, and in the show's many musical numbers she is backed by all-girl punk band The Shortcuts.
The show is chock full of real rock and roll at concert level volume, so pack your earplugs (though they will have some on hand if you forget.) And arrive early to get a good seat. I recommend that you check your shyness at the door and squat on a stack of newspapers up front by the stage so you'll be right in the middle of the action, much of which will take place behind you.
Familiarity with Shakespeare’s play is not a necessity, and in fact might be distracting if you spend time trying to find parallels. Aside from the obvious Gertrude is Queen Gertrude, her son “Mama’s Boy" (played by musician David Hanbury) kinda sorta might be Hamlet, and “The Man” (played by Marlin L. Rothe) kinda sorta might be the Hamlet’s uncle/stepfather Claudius, but who Daddy’s Girl is(played by Kate Durand) might be is a mystery. Ophelia perhaps? Though she appears to be the sister of Mama's Boy instead of a love interest. But I advise you not to spend too much time trying to sort that out (as I just did). Just watch the show for what it is.
Part of the enjoyment of God Save Gertrude comes from the pacing, and the musical numbers are interspersed perfectly in what is ultimately a smartly funny and hip drama that almost tips towards tragedy, but never goes completely over that edge. None of the songs seem tacked on as they do in some musicals, but rather they are integrated fully into the action. Gertrude swigs from a vodka bottle as the play progresses and becomes looser and looser as she goes on - her costume slowly transitioning from formal evening wear to a torn red slip garnished with safety pins. (Costuming was done by designer Laura Fulk.)
Gertrude and Mama’s Boy are the central characters here. (Though Patti Smith is referenced enough by Gertrude that she almost seems like fifth character in the play.) Rothe as The Man is a bit more marginalized than I would have liked him to be (I've seen Rothe in other productions, and have enjoyed his work.) Kate Durand plays Daddy’s girl a little self-consciously, but otherwise the match-up between the four actors works well.
And the music is great. Reprising a cheesy song about post revolution bliss, “New Day is Dawning,” Hanbury plays the song in a more serious vein from the middle of the theater and you can hear a pin drop. This sort of minimalist performance takes a lot of talent, and that song was one of the more memorable moments of the show for me from a musical standpoint.
Overall, God Save Gertrude is a provocative production that I not only recommend but hope to attend a second time before it closes February 10th. Check the show's MySpace account to see the musical guests for the afterpartys and get twice the bang for your buck by seeing a full blown rock show as a chaser to your theater.
Location: The Playwrights Center Address: 2301 Franklin Ave. E.
Minneapolis, 55406 United States
Date(s): January 25, 2008 at 8:00 PM, January 26, 2008 at 8:00 PM, January 27, 2008 at 7:00 PM, February 1, 2008 at 8:00 PM, February 2, 2008 at 8:00 PM, February 3, 2008 at 7:00 PM, February 8, 2008 at 8:00 PM, February 9, 2008 at 8:00 PM, February 10, 2008 at 7:00 PM
Location Info:
The Playwright's Center
Artist Info: The Workhaus Playwrights Collective
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