Shakespeare, Chino and a Fat Pig

By Gabriel Morales

For the Real Critics Blog

Besides penning some of the most enduring and honored works of Western culture, Shakespeare explicated perfectly the purpose of his art. Through Hamlet’s command to an actor about to perform, Shakespeare says (in the easy-for-laypersons-to-read “No Fear” version): “Fit the action to the word and the word to the action. Act natural at all costs. Exaggeration has no place in the theater, where the purpose is to represent reality, holding a mirror up to virtue, to vice, and to the spirit of the times. If you handle this badly, it just makes ignorant people laugh while regular theater-goers [i.e. those who can recognize, understand, and appreciate good theatre] are miserable -- and they’re the ones you should be keeping happy” (Hamlet, 3.2).

The problem with straight theater -- especially straight community theater -- and the main reason for half-full houses on a good night is that, for the most part, this four century-old admonition goes unheeded. Yes, a fine orchestra, elaborate costumes and a realistic set are a joy to behold; but the true delight and purpose for theatre is the visceral symbiosis that occurs when an audience observes before them a person (whose steps, voice and very presence they can feel) living out the most dramatic moments of her life -- a goal impossible to achieve when the actor possesses neither the talent nor the fortitude to usher the viewers into that ethereal state where self-examination and catharsis are possible. But there’s always an exception to the community theatre rule... 

Through Neil LaBute’s refreshingly realistic dialogue, M. Michele Richardson’s savvy directing and the talents of a veritable dream team of a cast, Chino Community Theatre presents one of -- if not the only -- opportunities for IE theater-goers to this year experience that elusive and wholly satisfying glimpse into this zeitgeist’s looking glass. For just as the purpose of Hamlet’s play-within-the-play was to “catch the conscience of the king,” so too LaBute’s masterwork, “Fat Pig,” forces the post-modern audience to confront the brutal reality of their disgusts, prejudices and hatreds.

Richardson humbly credits the playwright for the production’s artistic success. LaBute’s brilliance notwithstanding, the director has shown delicate expertise in designing a lovely, ominous soundtrack, casting the play to perfection, and crafting the show’s effective pace and tone. If making a trite, anachronistic play entertaining is likened unto a running a marathon blindfolded, then directing a masterful, relevant play -- especially one that lives or dies by naturalistic performances -- such is the same race with a Faberge egg balanced on each palm; and, trust, Richardson crosses the finish line with treasures intact.

Then there’s the cast! An assembly of talent the magnitude of which is rarely seen ‘round these parts. Desiree Hill is splendid as “Helen,” the play’s namesake. Her rambunctious laugh, endearing personality, and inherent self-confidence all contribute to her vivid portrayal of society’s archetypal pariah. Hill’s training and experience are evident in the carefree way she successfully tackles realism. (My one critique being, I wish she had delved deeper into those few dark moments where Helen sees her fate foreshadowed and begins to crumble under the pressures of life and love.) Adam Demerath is marvelous as “Tom,” Hill’s lithe love interest. One of the IE’s most decorated and versatile thespians, Demerath can do it all: produce, direct, act, sing, construct, design, etc. -- is there such thing as an octuple threat? If so, Adam’s it. Apropos, when only burdened by the responsibilities of an actor as he is in “Pig,” Demerath creates a work of live art so layered, so focused, so enthralling, that the simple act of eating potato chips becomes a heart-wrenching illumination into the broken soul of the 21st century American man.

No less radiant is the supporting cast. National award-winning actor, Jeremy Magouirk, plays the hell out of the vulgar malapert “Carter,” best friend and foil to Demerath’s Tom. From a simple roar-inducing entrance, to a Cruise-inspired fit of couch jumping, to the somber recollection of a painful childhood memory -- Magouirk nails every moment, every pathos, thus making the most repugnant character understood, even winsome. The last of the talented quartet is Trista Olivas, who gives heart, humor and soul to “Jeannie,” Tom’s sultry, strong-willed ex-girlfriend, whom lesser actresses would relegate to a lascivious ditz or tyrannical misandrist. Unlike with Helen, LaBute doesn’t use dialogue to explore the irony of Jeannie’s name. The task falls to Olivas to embody both the male wish-fulfillment and self-destructive dreamer aspects of her post-modern American woman, which she readily accomplishes.

So... bad acting: audiences hate it (and too-oft rightly assume they’ll see it, and thus avoid patronizing local theaters) as it is the one unpardonable production sin -- the one mistake that should be avoided “at all costs.” Luckily, there’s the rare play (CCT’s wonderful “Fat Pig”!) where this is a non issue. Therefore, if you are among those few local patrons still spending their increasingly valuable income -- and infinitely more valuable time -- attending IE theatre, you would do yourself a great disservice by missing this show.

“Fat Pig” continues June 10 and 19 at 8 pm, and June 13 at 2:30 pm. Visit www.chinocommunitytheatre.org for details.