Full of insights and information, this literate play of substance, beautifully acted, directed, and set, typifies what makes the Banyan so special. Its title character also reflects the company: a "Side Man" is one who can fill an artistic need (here musical, especially jazz, as Banyan does theatrical, particularly in summer), whether as backup, front, or in whatever role needs filling in an ensemble.
Illustrating the dissolution of a family, Side Man centers on NYC trumpeter Gene in relation to his art first, family and friends next. The play encompasses Gene's career and what's very much an auxiliary personal life told but mainly shown in scenes remembered by Gene's son Clifford, 29. As memories, they move among different times and places, illustrating along the way how jazz grew, peaked, changed forms and performers, waned.
Named after a revered jazzman, Clifford, when initially heard from, plans to say goodbye to his mom Terry, next see Gene for the first time in a year or so at a club gig, then go west. No more being summoned to pick up the pieces of his parents' shattered lives, much less their marriage!
At the Club Melody, Clifford meets Patsy (vivacious Lauren L. Wood), an attractive waitress with such a weakness for Gene's fellow musicians that at times she's married most of them. Clifford recalls nine years earlier getting together with his father and those closest to him. Occasion: signing his first unemployment check, with Gene celebrating by buying drinks. Celebrants: lisping, quirky, loyal Ziggy (Dan Bright, agile and expressive); steady, flirty Al (Robert Herrle, playing straight); one-eyed disillusioned war hero, addict yet wise philosopher (Robert Mowry, authentic and memorable whether comic, consoling, or suffering through a bloody jail interrogation).
Patsy's asking Clifford about Terry recalls his mom's meeting Gene and her early interactions with him and his pals. A soda sipper, unaware of what they smoked, she doted on Gene, how well he played, his adequate livelihood. Roxanne Fay's eyes seldom dim during her Terry's early enthusiasm, when she looks forward to a seemingly bright side of life -- marriage and motherhood. Considering she was not successfully married shortly before, Terry is obviously unrealistic.
As she grows in resentment, her one constant is a foul mouth. (Fay doesn't completely get away with this, unfortunately losing sympathy, though preparing for Terry's worst subsequent rampage.) How much does she or forces beyond her destroy her and the marriage?
The rather bland role of Clifford generally underutilizes likeable Juan Javier Cardenas' talents. He yet proves resourceful through reactions during a difficult imagining of being present at a crucial scene prior to his birth. He also fulfills well the need for an attempted peacemaker between his parents.
As Gene, excellent Steve DuMouchel has presence even as he's not obviously as emotionally involved as Terry needs, as appreciative of
Clifford as the son has a right to expect, and as ambitious as they, he, and his career might benefit from. Despite Gene claiming jazz is a "business," his performance of it as an art absorbs him. He neglects his wife and child because he doesn't really live a life outside of performing. He can't imagine being jobless.
A crucial scene has Gene and his musician buddies listening and reacting to a newly discovered and last tape of a legendary Clifford Brown's "Night in Tunisia." Four memorable minutes of pure artistry and pure artists' reactions to it. Ecstasy. Burning brass engulfs them. How could such jazz not survive?
Such jazz, like its performer, doesn't. Side men, as predicted and traced here, were pushed to various sides of stages by new musical styles and stylists. With Gene's family asunder, how will he and Terry relate to each other and the scene. Isn't Clifford going to pursue the art he abandoned at 20 to help finance parents and their makeshift apartment life? What will happen to them?
As director, Jim Wise attunes his actors to undercurrents in characters' thoughts and feelings. He makes Side Man flow like a riff, helped by Jim Hoskins' expressive choreography. With Gene's family apartment on a fixed platform, Richard Cannon's set has various other sites roll on and off center stage or shift to either side stage with skillful timing and the aid of Michael Pasquini's lighting. Kaylene McCaw's costumes are eras-perfect. The importance of Steve Lemke's sound design is obvious.
A great end to Banyan's 2010 summer season!
L-R: Roxanne Fay, Steve DuMouchel, Juan Javier Cardenas.
