Style Weekly
Full Plate Collection
by Mary Burruss
“In the words of that great philosopher, Mary Poppins, ‘A spoon full of sugar helps the feminism go down.’” —Irene Ziegler
The most common question people ask me as a theater critic is, “What is the most memorable or best play you have ever seen?” I am frustrated by the question because I never have a good answer. But now I know why. I simply had not yet experienced it. The answer to that question has shown itself in the form of an organic, locally grown play titled, “Full Plate Collection.”
I say “organic” because of collaborative process by which the play has evolved. Erin Thomas- Foley got the idea to create a play for women, about women by women when she learned of the Minds Wide Open celebration of women in the arts. She collaborated with Richmond’s top female talent: actress and teacher, Jenny Jones-Hundley; writer, Irene Ziegler; and director, Keri Wormald. Then she added a local design team, apprentices, and actresses.
The result is a play with a timely, clear, intelligent voice that simultaneously spoofs, supports and celebrates women.
The play opens with a shopping network style show featuring classic TV hostesses (Melissa Johnston-Price and Debbie Walton) whose names change throughout the show to reference classic female teams like Betty and Wilma, Cagney and Lacy, Lucy and Ethyl. They are selling a collection of plates depicting five female cultural icons. These are fictional characters except for Rosie The Riveter (Kimberly Jones-Clark) but their “real” counterparts are obvious. Throughout the first act each “plate” is introduced and a vignette played out to more fully identify the character. Betsy Crockpot (Lauren Leinhaas- Cook) is stuck in her outdated domestic role. Rosie the Riveter wants to serve her country in the military not on the home front (where she makes 75% of what a man would at her riveting job). Boopsie Bleep (the incomparable Lane Satterfield) is a one dimensional teen sex symbol. Babs the Anatomically Impossible Doll (Courtney McCotter) is well, anatomically impossible. Auntie JJ is bitter about her image of servitude. These icons are outdated and no one is buying them.
The second act is about the evolution these icons must make to become relevant to the times. They “keep what works and discard what doesn’t.” Ziegler delivers an important message while keeping the audience laughing throughout with clever lines and a couple of songs thrown in for good measure. The audience disintegrated into waves of laughter during “Rack ‘em up” a song that might possibly mention every phrase used to describe women’s breasts. Many issues about women and feminism are addressed but the message is also updated. The play ultimately tells women to succeed by using feminine gifts rather than assuming men’s traits. Throughout her play, Ziegler challenges women to “...raise the bar so high that men will wish they had ovaries, too.”
“Full Plate Collection” inspires us to look at ourselves and the world differently, to adapt and improve without preaching. So do the right thing, gather up your girlfriends and buy local because this is the MUST SEE show of the season.
Tuesday, March 23, 2010
Full Plate Collection at Theatre Gym
For WCVE – Public Radio, I’m John Porter.
If this were New York, recognition for the Tony Awards would fall mostly to the new plays presented every year. There would be great anticipation for a new play by a major playwright and savvy theatergoers would line up to get their tickets early.
Such is not usually the case in Richmond, although the last few years have given us plays by such talented writers as Doug Jones, Bo Wilson, and now a new work by Irene Ziegler. Full Plate Collection, which is playing in the Theatre Gym of Theatre IV is a wonderful new work exploring the roles and lives of iconic American women who never lived.
These symbols, easily recognizable even under their assumed names, speak volumes about America through their stories. In addition, they speak to the universal condition, and the efforts women have used to effectively change society for the better.
The event that triggers the stories is one of those televised shopping networks – you know the ones who sell knives designed to cut through rubber hoses and luggage that folds up to the size of a clutch purse. Tonight only they are selling a collection of plates in the images of these iconic women. Melissa Johnston-Price and Debbie Walton are our hosts and chief salespeople and they are extremely funny as they introduce each participant in tonight’s festivities.
The five women who make up this iconic ensemble; Kimberly Jones-Clark, Lauren Leinhass-Cook, Laine Satterfield, Courtney McCotter, and Shalandis Wheeler-Smith throw themselves into the project with abandon. They deal with themes of feeling limited by the constraints of their world. Rosemary the Riveter wants to fly planes, not just build them, Betsy Crockpot wants to continue nurturing the family they way she always has, Boopsie wants to be redrawn to her specifications, Auntie JJ wants to become an executive in the company she represents. Only Babs, the Grown Up Doll with it all seems content with her place in life – after all, she’s popular and attractive and has already had 147 careers.
The rest of the ensemble is made up of four talented and funny women including Bridget Gethins, Stacie Rearden Hall, Elyse Thaler, and Hanna Clinton.
Director Keri Wormald, whom I openly admit is one of my favorite directors, has assembled a strong design team who just happen to be all women. Did I mention that this play is part of the Minds Wide Open – Women in the Arts celebration? Terrie Powers has put together a great set that lets the actors exist in both the world of the shopping network and in the world their characters would inhabit. Heather Hogg’s costumes are dead on, capturing the spirit of each icon, and Lynn Hartman’s Lights are solid.
One of the few non-women to work on the play is Musical Director and Composer Paul Deiss who uses his music to drive the play forward. He and Ziegler have composed a funny number that I think was called “Full Rack” or something like that that celebrates the world’s obsession with breasts.
It’s times like these when you realize just how much talent lives in this city. Richmond is truly blessed to have all of these wonderful artists practicing their craft and sharing it with us.
