Cristofer Jean and Amy Kim Waschke in The White Snake. Photo by Liz Lauren.
The most remarkable, imo, aspect of Mary Zimmerman‘s lush and lavish The White Snake (at the Guthrie, through October 19): its restraint. I doubt you’ll see a more design-y play this season. Every moment of this piece is lovingly crafted and perfected. Yet there no gee-whiz-look-at-me self-consciousness, no inflated ain’t-we-gifted pomposity, no tastelessness whatsoever. (Okay, maybe there were a few slightly over-the-top effects; pay no attention to me)Â Everything is focused on the story, its entrancing simplicity, its moving finale.
I have to rhapsodize about the designers: the breath-taking costumes (Mara Blumenfeld), the intricate set (Daniel Ostling), the luscious lighting (T.J. Gerkens), the rich music and sound effects (Andre Pluess), the astonishing projections (Shawn Sagady). Ms. Zimmerman has put together a talented assembly of artists, to support her firm direction and excellent writing.
And what writing! The story comes from a “classic Chinese fable”. The White Snake both celebrates and transcends this provenance. The characters are all emphatically Chinese (though the excellent actors are not), but the tale has a focused universality (and a sweet sense of humor) that quickly makes you forget this. Elderly White Snake and upstart Green Snake, living in ageless Olympus-like splendor, decide that they’re bored, that they want to taste the delights in human-land. So down they…
Well. Do you really want me to recap the plot? I doubt it. Suffice it to say that the story works like gangbusters, and the acting is first rate. The White Snake is a direct transfer from Chicago’s Goodman; the first, I hope, of many. This shows amazes. You’ll kick yourself if you miss it. So don’t.
Highly recommended.
For more information about John Olive, please visit his website.