STAGE REVIEW: SASSY MAMAS By: Faiz No comments

A scene from Sassy Mamas.

Ought um

 

By Ed Rampell

 

Sassy Mamas, by prizewinning playwright Celeste Bedford Walker is a comedy-drama about three longtime girlfriends in Washington, D.C., who, in the autumns of their lives, find themselves flying solo.

 

Hospital administrator Jo Billie (the indomitable Iona Morris, who also helmed this remount) is recently widowed, while Mary’s (Elayn J. Taylor) ambassador husband has broken diplomatic relations with her by throwing Mary to the curb in favor of a younger woman. The never-married, career-driven National Security Adviser Wilhelmina (not Condoleeza), who is played by Honolulu-born actress Denise Dowse, has been too busy pursuing international relations to have a personal relationship. What’s a single woman to do?

 

Prodded by Jo Billie, who appears to be the sassiest of the gal pals, they ponder why it’s socially acceptable for a male to have a much younger female mate, and they decide to “flip the script.” So using their advantages in terms of social status, wealth and position the upper crust trio seek younger sex partners.

 

In the first act it seems as if Sassy Mama will be a raucous, raunchy farce about “cougars” - or, in this case, “black panthers” - and their, shall we say, young “bucks.” But over the course of almost three hours Walker’s two-acter reveals that there’s much more to her characters and plot than just an older woman-younger man paradigm.

 

Let’s just say that cum-plications and hilarity ensue, along with some drama and pathos. Jo Billie, who is portrayed by the youngest and sexiest of the three actresses, acquires a boy toy whom the businesswoman signs a contract with for his sexual services (paging Ms. E.L. James!). LaDonte (Jah Shams) and Jo Billie have an especially high-larious scene involving some hanky-spanky role playing, with the impish Morris wearing a sort of I Dream of Jeannie costume. This sidesplitting sequence is worth the price of admission alone.

 

 

Sassy Mamas runs through March 29 at Theatre Theater, 5041 Pico Blvd., L.A., CA 90019. For info: 323-571-3232; Tickets 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FILM REVIEW: FORCE MAJEURE By: Faiz No comments

A scene from Force Majeure.

Accidents will dampen

By Ed Rampell

A French term literally translated as 'greater force,'" force majeure is a clause included in contracts to remove liability for natural and unavoidable catastrophes that interrupt the expected course of events and restrict participants from fulfilling obligations.” A so-called “act of god” is a good example of this, and one such occurrence sets the stage for the plot and theme of Force Majeure, a stylish Swedish movie written and directed by Ruben Östlund that scored the Cannes Film Festival’s Jury Prize in Un Certain Regard.

Tomas (Johannes Bah Kunke) and Ebba (Lisa Loven Kongsli) are a Swedish middle class couple vacationing in the French Alps with their young son and daughter. In a bit of clever casting, Vera and Harry are played by real life sister and brother, Clara and Vincent Wettergren. Some sly dialogue in passing fills us in on the fact that this ski holiday is a rarity, as Tomas is so busy with his career. These throwaway lines inform what happens next.

Your reviewer won’t tell you exactly what that is. Except to say that in this precarious world of climate change, war and the like, this morality play ponders what we’d do when faced with a force majure.

(Some reviewers, such as at least one of KPCC’s blabbermouths on FilmWeek, belong to “The Edward Snowden School of Movie Reviewing." willy-nilly revealing punchlines, plot points and the like, spoiling viewers’ own joy of discovery, because these WikiLeak-type bigmouths are probably trying to enhance their own reviews by misappropriating films’ best jokes, storylines, etc., to burnish their lackluster coverage.)

The perpetrator of the apparent misdeed is in denial over the course of action (uh, or lack of) when the titular force majeure happens, which rocks the marriage and parent-child relationships to the core. The film becomes an examination of gender roles, marital relations, parental responsibility and of this petit bourgeois couple and their children. Interaction with a janitor at the posh Alpine resort where the family is vacationing also cannily injects a class dimension into the story. As things come undone the perp seeks redemption.

As recently observed in a review of August Strindbergs The Dance of Death by L.A.’s A Noise Within theatre company, Force Majeure is also in a long line of “arts reflecting the Scandinavian psyche, including dramatists Strindberg, Henrik Ibsen, painter Edvard Munch, filmmakers Victor Sjöström, Carl Theodor Dreyer and of course Ingmar Bergman... Even the marriage of Birgitte Nyborg (Sidse Babett Knudsen), the fictionalized first female prime minister of Denmark in the stellar Danish TV series Borgen, falls apart -- not even her nation’s most powerful person can keep her marriage together.”

But for this me, Force Majeure is most in keeping with the theme of Joseph Conrad’s Lord Jim. In any case, there is some stunning cinematography of ski and snow. Plus excellent use of Antonio Vivaldi’s “The Four Seasons.”  Also, the ending of this highly philosophical film reminded me of Luis Bunuel’s 1972 film, The Discreet Charm of the Bourgeoisie -- but since loose lips sink ships, you can find out for yourself what is meant by that.