RAGE: What do you think draws us back to the story of Peter Pan? We have had many
popular tellings and retellings: the Broadway and Disney hits, movies like Hook and of
course the book Peter and the Starcatchers, which came out in 2004.
Roger Rees: Peter is a classic character, like Hamlet and Juliet. Every once in
a while, we need to dip into the well and see how our life matches. And we like
the fact that he remained a child all his life. No one wants to get old, crusty or
lonely. We search for that happy moment: When we did not have the respon-
sibilities, or the cares or the wrinkles. There’s a certain appeal to the fountain
of youth. I mean from a more satirical angle, isn’t that what we are doing in the
plastic surgery world? You can seemingly be young forever.
RAGE: It says, in the description that this is a “play with music” versus being billed as a
musical. Can you explain that distinction?
the identity and imagination of Six degrees of Separation
Alex Timbers: There are a couple of songs, but you will never, for example,
see Peter Pan stand on the stage and sing. I am four degrees of separation from Albert Einstein [You see, my friend (1)
Rees: See, in a musical, the songs are used to drive the plot forward. Act one her father (2), well, his friend (3) knew Einstein personally (4)]. And I feel only one
always has a want or need statement. Like in My Fair Lady, “All I Want is a Room degree of separation from our newly inaugurated President. I mean, I get e-mails
Somewhere.” In this play, a song might serve to represent an idea, to explore with a subject line that says from Barack Obama. (The campaign has such good
something and then move on. The songs are tools. marketing)! So, the concept of Six Degrees of Separation isn’t so electrifying as it
Timbers: What’s really very unique is that there are no pre-recorded sounds. was during its 1990 Broadway premiere—you know, before e-mail and facebook,
Every sound is done by the percussions team. It’s very lavish. wikipedia and even most cell phones.
But because the “It’s A Small World” theme isn’t such a new revelation, we can
RAGE : What components of the rehearsal process are you working on right now? look beyond it, to find other gems in Playwright John Guare’s work. And as Direc-
Rees: We are building and then stripping away. We have four weeks of tor Trip Cullman knows, there is a gold mine.
rehearsal time. Like Ben Hur, there is this epic realization you have to do every- Thanks to strong characterization by Samuel Stricklen (“Paul”), the more
thing at once—set design, rehearsals, make changes. It’s crazy work. prominent themes for our post-Internet world become identity and imagination.
Through Stricklen’s performance, Six Degrees of Separation asks audiences: Who
RAGE: What is your combined vision for the show, does it have elaborate set work like do you imagine yourself to be? And is there a point, when, if you believe in your
we have come to expect from a production of Peter Pan? A pirate ship and flying cast imagination enough, it becomes truth? The old you disappears? (Hey Internet
members? junkies: Keep trying on new identities. Just build your character and attend a
Timbers: Our focus is on the words of the script, the actors and their words. virtual party)!
There is a bare-bones ship and props. But there is no flying and no tights. In At the same time, Tony Award winner Karen Ziemba’s stunning performance as
that sense it is like a radio play. “Ouisa” shows us there is an extreme beauty in entering someone else’s imaginary
Rees: Yes, we seek to directly engage the participant and ask them to fill in world, a beautiful madness. And then, how exciting her life became when she
the visuals. Each of us has a library in our mind. Let’s say you and I were listen- discovered his facade. All of their lives became consumed, as they went on a quest
ing to the radio and the narrator said, “Sherlock Holmes walked into the room to discover, who is he really?
and sat down in the chair.” We are hearing the same story, but your chair might As is often the case, the Old Globe’s quality of sets, costuming and casting is
look very different. That’s the true nature of theatre… imagination. outstanding. I also appreciated the play’s witty references to pop culture, classic
literature and art. And if you are a fan of the original 90210, then check out Brenda
RAGE : How do you feel about presenting an “unfinished” work in progress? and Brandon’s dad in the role of “Dr. Fine” (James Eckhouse).
Rees: Thank goodness! Art should always be evolving. Like our lives, it I did have one issue toward the middle of the play. (Here’s where my wife says,
should not be finished. “You are such a lesbian-activist.”) But personally I was annoyed that “Paul,” the law-
Timbers: It’s remarkable for all the people here. It feels like a lucky and dar- breaking con-artist just had to be 1. black and then 2. “caught” as a promiscuous
ing thing. gay. And point blank, I’m tired of the LGBT community and communities of color
being linked to law-breaking. The story would have worked just as well if “Paul”
RAGE : Given the limited entertainment dollars we all have to spend, what would you tell had been a white hetero girl who knocked on the Kittredge’s New York penthouse
someone who was considering coming to see Peter and the Starcatchers? door. Although it’s possible she would not have been as snappy a dresser. So, see
Timbers: The show is thrilling with a strong, young vibrant cast on the verge the play and when you do, try to identify and imagine “Paul” as any young college
of greatness. student. Six Degrees’ themes have the ability to transcend gender and race.
Rees: Really, they are a sexy group! I would be remiss not to tell your readers
that the play also suggests something else. Perhaps being Peter Pan isn’t such Six degreeS of SeParation
a great idea. Always staying the same age and looking in at people growing The Old Globe Theatre
up. It inspires you to fashion your life, to have fun and to do something with it. Now playing through February 15
It’s thought-provoking and I think that is something worth paying to see. Box Office 619.234.5623
FEBRUARY 2009 | RAGE monthly 17
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