Tiny Alice

Critiqued by Holly Bartges

Under no circumstances, in any way shape or form, should the Germinal Stage Denver’s production of Edward Albee’s Tiny Alice be missed.

Flavia Gina Wencel as Miss Alice and Stephen R. Kramer as Lawyer in Germinal Stage Denver's production of Tiny Alice

First, it’s a feast for the brain.

Second, it’s a dance for the imagination.

Third, the magnificent actors produce unforgettable characterizations in exquisite harmony.

Fourth, Ed Baierlein’s direction and design gives Tiny Alice grand clarity.

When Tiny Alice opened on Broadway in 1964, it was nominated for six Tony Awards. The awards honored Irene Worth for Best Actress In A Play. In spite of the tribute laid at its feet, Tiny Alice found itself in a swarm of honey bee-confused controversy. What was Albee thinking? What was his point? Albee brushed the controversy aside insisting Tiny Alice is “crystal clear”.

The truth is, he’s right. Crystal clear it is.

In researching the background, it was pointed out that John Gielgud, who played Julian, admitted he didn’t know what he was doing. Bingo! Gielgud gave great performances no matter what he did. No debate there. A great performance can knock the socks off, even if the actor doesn’t know what the character is about. Great performance, or no, when an actor doesn’t know what he’s doing or why, he’s in trouble, and the production is in trouble. Gielgud complained Albee wouldn’t tell him. Albee counteracted that Gielgud didn’t have the nerve or energy to dig deep enough into the character, a syndrome famous actors often fall privy to, assured they can rest on his/her laurels. Witnessed all too many times.

Being thoroughly engrossed in GSD’s production, part of me found this highly amusing. Wasn’t it interesting the controversy pointed itself in Albee’s direction while praising Gielgud’s performance, nominating him for a Best Actor Tony Award?

Albee, known for his symbolic metaphors, couches them in brilliantly designed characters. An obvious clue to the conundrum blinks in neon lights from the program. Lawyer and Cardinal have not been assigned names. A story is being told, a story standing on its own feet, but a story reaching far beyond five characters.

On one level, Lawyer pays a visit to Cardinal. They’ve known each other since college, indicating their knowing goes far beyond friendship. Bitter words wrapped in stately, sly smiles box between them. Arrogant, convinced he holds all the cards in one hand; Stephen R. Kramer disappears under the Lawyer’s control. His eyes flash with delicious delight. He’s not there because he wants to be. He’s been requested. He bows to Cardinal for his position, but the words are meant to dig, not as a compliment.

David Fenerty cloaks himself in Cardinal’s identifiable robed-religiosity as well as the inner Cardinal mind-set. Darting eyes and grim smile flicker discontent when turned away from Cardinal. Lawyer’s presence and taunting biting words are not welcome. He knows well how to play tit for tat, bouncing tennis ball barbs straight over the net. How far will Lawyer go? Cardinal tries hard not to allow apprehension show. But it does.

Kramer and Fenerty demonstrate with slick, calculated dueled verbiage the loathing and fear standing between Lawyer and Cardinal.

Miss Alice, the world’s richest woman, declares she will give a Billion dollars to the Church every year for the next 20 years. The Church isn’t the only recipient of her generosity. Money also goes to Jewish organizations, Protestants, hospitals, and other deserving charities.

His Eminence asks, ”Shall I just go to the house and pick it up in a truck?” Jumping on the question, Lawyer responds “We’ll get the money to you. We don’t want to have you around the house at all.”

Baierlein divided the stage into three effective levels defining the when and where. Always stunning what a small stage is willing to produce when respectfully addressed.

Julian, Cardinal’s private secretary, astonishingly given life and breath by Terry Burnsed, is sent to Miss Alice’s castle. With cunning degradation, Lawyer lets it be known he has done his homework on Julian. He knows all about him except for six mysterious years. Nervous, uncertain, Julian wears deliberate confusion neatly ironed as his frock. The eyes of Lawyer penetrate as though an X-Ray machine replaced his sight.

Greeted by the Butler, whose name just happens to be Butler, played by Leroy Leonard with a self-assured stance, declares he understands what’s about to transpire humorously remaining detached. Nothing surprises him. A previous lover of Miss Alice, he’s been replaced by Lawyer. That’s OK, there’s a game to be played and he knows who holds the cards. Leonard is as intriguing to watch as every other character. The five are a marvel with their eyes standing in juxtaposition to each other, contradicting, and at the same time, underscoring carefully calculating words.

Flavia Gina Wencel as Miss Alice in Germinal Stage Denver's production of Tiny Alice

Gina Wencel transforms herself into Miss Alice, first met as an elderly white haired, hard of hearing old lady, shocking Julian when she reveals a seductress oozing with sexuality from every pore. There’s a catch to her offer, and the catch is Julian. Caught between his dedication to the Church and red-blooded raging hormones screaming in defense with Miss Alice’s persistent approach, Julian’s secretive six years hovers over him with snarling gleaming teeth.

Not to be confused with Miss Alice, Tiny Alice controls a miniature of the Castle situated in the Parlor. Whatever room is highlighted in the Castle, the lights in the miniature flash on. Looking into the miniature’s parlor, Julian sees another miniature giving the impression the scene repeats itself into eternity. There is reference made to the Castle as a replica, insinuating the scene explodes out into the universe. Tiny Alice, a deity in her own right controls Miss Alice along with Lawyer. Miss Alice fluctuates with uncontrollable flirtation toward Julian, fear of Lawyer ruling with taunt deliberation, and Tiny Alice’s determination. Wencel’s timing and smooth transformations are wondrous to behold.

Lou Florimonte created the miniature Castle with such artistic realism, its very presence piques the imagination believing Tiny Alice indeed manipulates its magical power.

Julian’s six mysterious years becomes a major thrust for him and Miss Alice’s daunting, destructive “sensualality” His world becomes a key battle between a determined clinging Faith and basic animal motivation. Burnsed’s revelation with Julian’s battle of Faith and desire develops slowly and gnawingly with incredible preciseness. He carries a gentle St. Frances spirit that falls into naive grace warring with doubting fearful anxiety. Burnsed gives one of the most intense performances of his career. How far will Lawyer and Miss Alice push Julian? What will it take for him to say, “Stop”? He shudders at seduction trembling with anticipation,

A fire breaks out in the chapel of the miniature, sending Butler and Lawyer scurrying to the Castle’s chapel. What control does this miniature have? Is Tiny Alice to be revered or feared?

The story and cast mesmerizes with vigilantly designed delineated characters. Through out the harrowing manipulation between Lawyer and Miss Alice, Miss Alice and Julian, Lawyer and Cardinal, Butler and Lawyer, humor takes an amusing ride, producing many heart felt laughs.

Beyond the story, questions lure through symbolism. Can the Church be seduced? Will the Church do anything for large sums of money? Can Faith be knocked from its pillar with determined arrogant seduction? Is there a difference between religious and sexual ecstasy? Can they be confused? What about emotional ecstasy? As sexuality and religious ecstasy are explored, what about the implied homophobic relationship between Lawyer and Cardinal? Church and Law? Hard questions for minds afraid to explore. Ah, the playwright sees what others are afraid to bring into focus. Ah, the beauty of theatre when art exercises its courage to reflect life as it is and not as wanted.

Tiny Alice is a brilliantly written play by a genius wordsmith and perceptive insight. GSD’s production brings actors together who have fine-tuned artistic sensibilities, creating strikingly unforgettable characters caught in a web of tormented self-destruction, pointing to truths laying in wait of discovery. Can the Church be seduced? You Betch’em, Red Ryder! One doesn’t have to dig far into Church history to unveil what history spells out in grim detail. This isn’t the end of the story. It’s only the beginning, which is why this magnificent production needs to be seen, absorbed, and faced eyeball-to-eyeball.

Tiny Alice
By Edward Albee