STAGE REVIEW : Havel Politics Make Obscure Drama

Czechoslovakia’s President Vaclav Havel laid the groundwork for his political career in the theater, first as a technical aide and administrator, later as an internationally acclaimed playwright.

In the mid-1960s, before the Soviet Union’s political intervention in Czechoslovakia, Havel wrote several major plays, including “Garden Party” and “The Memorandum.” After the 1968 Soviet invasion, the puppet government forced Havel and his dissenting voice underground, imprisoning him on several occasions and banning production of his work.

Havel’s “Audience,” a one-act play produced by Project Theater at the tiny Big Kitchen Dessert Theater in Golden Hill, deals explicitly with the playwright’s experience as a dissident--specifically, his 1974 employment in a brewery. The 45-minute play chronicles a vague, elliptical discussion between Vanek, a nonconforming playwright, and his nameless boss, a brewmaster who risks governmental repercussion for employing Vanek.

From a political or biographical standpoint, “Audience” is a fascinating work that offers considerable insight into Havel’s personal experiences and philosophies. Theatrically, the production is somewhat less compelling and comes across as an extended dramatic situation rather than a full-fledged play.

In a 1985 essay, Havel admitted that “Audience” was written “primarily for the entertainment” of his friends and that he was surprised at its popularity throughout his homeland. Certainly, this work’s popularity in Czechoslovakia reflects Havel’s personal popularity in that country. Here, anyone eager for insight into Havel’s personal history will be on the edge of his seat; others may not find the proceedings quite so intriguing.

“Audience” bears several striking similarities to Samuel Beckett’s post-modern classic “Waiting For Godot.” Both “Godot” and “Audience” feature lead characters with a complete inability to communicate with one another. The two characters talk incessantly--that’s really all they do in this play--but nothing is resolved, no idea is acted upon.

Further, Havel’s dialogue emphasizes repetition.

In “Godot,” Vladimir and Estragon constantly return to metaphorical exchanges (“Let’s go.” “We can’t.” “Why not?” “We’re waiting for Godot.” “Ah.”)

In “Audience,” Vanek and the brewmaster do likewise. “Don’t let it get you down,” says the brewmaster often during the production. “I’m not down,” is Vanek’s stock reply. Similar rote niceties take place throughout. “Audience” departs from “Godot,” however, in its overt political nature. Whereas “Godot” deals with existence in the entire world, “Audience” relates a tale of existence limited to Havel’s world.

Project Theater co-founder John Highkin directed this taut production with a serious hand and a strong historical sense. Before the show, two Czech-born San Diego residents, Martina Klicperova and Mirek Nytra Wells, read excerpts from Havel’s writings and speeches to set the play in historical context. The readings seemed long and unnecessary at first, but later proved to be extremely helpful in understanding “Audience.”

Two local actors, Project Theater co-founder Kevin O’Neill and Martin Katz, gave convincing performances. O’Neill demonstrated considerable restraint in his portrayal of the quiet, polite Vanek. As Havel himself pointed out, “Audience” is not about a famous, objecting playwright, it is about a reaction to a famous, objecting playwright.

O’Neill’s subdued performance of Vanek didn’t provide the actor with much to do, but it did remain true to the author’s vision.

O’Neill’s inertia allowed Katz to be at his mercurial best in depicting the low-brow Czech brewmaster. Katz managed a powerful physical presence as the brewmaster, despite spending most of the play seated. Several times during the play, Katz explodes with energy and fills the small theater with raw emotion.

Accordionist Mark Danisovsky helped set a foreign feel about the Big Kitchen’s tiny theatrical space, performing a selection of Eastern European gypsy music before the play began. Scenic designer Cindy Zimmerman also influenced the feel of the production, adorning the Big Kitchen’s “stage” walls with black-and-white photographs featuring scenes from Czech history.

Project Theater’s “Audience” rests in a gray area between history and theater. The play offers substantial insight into Havel’s intriguing existence, but the personal nature of the play limits its resonances outside a political arena.

As the brewmaster points out several times during the production, “Them’s the paradoxes of life, right?”

“AUDIENCE”

By Vaclav Havel. Directed by John Highkin. Set design/photography, Cindy Zimmerman. Consultation/research, Martina Klicperova and Mirek Nytra Wells. With Martin Katz and Kevin O’Neill. At the Big Kitchen Dessert Theater, 3030 Grape St., Golden Hill, through March 24. Saturday-Sunday, 8 p.m.; Sunday, 2 p.m. Tickets: $15 (including dessert and coffee). 235-9756.