eveningsout

The search for signs of intelligent theatre ends here

The Search for Signs of Intelligent Life in the Universe Lily Tomlin

Palace Theatre, Cleveland

Reviewed by Michelle Tomko

When you hear in 1999 that Lily Tomlin will revive her Tony Award-winning onewoman show from 1986, the first thought that crosses your mind is that she uses the

Lily Tomlin

same tax advisor as Willie Nelson and needs some fast cash.

While looking at the black stage set with a step unit and chairs, all in black, against a black backdrop, it appears that the Palace has been transformed into a black-box theatre to accommodate acting students' senior projects. But when Tomlin walks out with her rare energy and sincerity, you remember very quickly that you are seeing a true professional.

Tomlin appeared November 26 and 27 at Cleveland's Play ouse Square in her signature performance of The Search for Signs of Intelligent Life in the Universe by Jane Wagner.

What could have been a malaise of dated humor which Tomlin could have performed in her sleep was instead a timely, inventive piece of character work that the audience truly identified with and enjoyed. Some overzealous members even hooted and howled throughout the entire performance with rockconcert enthusiasm.

Before Tomlin dove headfirst into the collective unconscious of non-PC roles, she appeared as herself, and remarked how happy she was to be back in Cleveland. She also poked fun at her sparse set and costume.

"If the audience starts to notice the set and costumes, there is something wrong with the play," she said. "If the audience starts to notice the set and costumes in this play, there is something wrong with the audience."

Then, with a flash, the comedienne is transformed into Trudy, our narrator, a wise but cynical and slightly crazy bag lady. Her job: to help her “space chums" explore Earth through the people that are channeled through her.

Tomlin does this impeccably well. She instantly changes psyches, in monologues to the audience as well as whole dramatic

scenes with several characters at once. When Tomlin speaks to a phantom character, you would swear they were standing on stage with her. You can hear their responses and picture their clothes as if they really existed in the third dimension.

Tomlin can also gender-bend with Crying Game precision. Her male characterizations are just as realistic as her female ones, especially in the scene where Tomlin is teenage punk Agnus Angst and both her elderly grandparents.

The entire cast of stereotypes is played with integrity and grit, with an attention to details great and small. Her commitment and focus is a lesson to even the most seasoned veteran of the theatre. The fact that we get to see all these worlds without a single costume change or set shift is a lesson for even the biggest Hollywood blockbuster.

Tomlin can really move. Her art of mime is neither over the top nor half-hearted. She seems to have more energy than a six-year-old who has just been let out of the car after a twelve-hour road trip. Chrissy, the ditsy health club member, speaks all her diatribes while simultaneously doing aerobics or showering. Agnus never sits still, and Trudy is forever getting possessed or ruffling through her shopping cart. Tomlin handles all of this with control and inner joy.

What could have been a

malaise of dated humor which Tomlin could have performed in her sleep was instead a timely, inventive piece of character work that the audience truly identified with and enjoyed.

Tomlin and her sound engineer Candice Elms enjoy nothing less than a symbiotic relationship. Sound cues and physicality are timed so perfectly that synchronized swimmers look like they need more practice.

However, Tomlin did seem a little rushed. She blew a couple of punch lines here and there. But I'm sure Yul Brynner's King and I got a little jaded toward the end

too.

Even though she had a few line stutters here and there, which could be attributed to anything from travel to the people in the middle of the fifth row climbing over others and unwrapping candy during the show (the house manager really dropped the ball that evening), the revival was a success which entertained any theatre, mime, stand-up, or Lily Tomlin fan alike.

After a performance like that, she must truly be exhausted. You really get all of her.

December 3, 1999 GAY PEOPLE'S

"WINTER"

MURRAY HILL

ART

WALK

Friday December 3 5:00p.m. 9:00p.m.

Saturday December 4 Noon -9:00p.m.

Sunday December 5 Noon-6:00p.m.

Sponsored by the Murray Hill Area Arts Association

For more information please call:

(216) 721-4100

RING!

It will, when your home's listed on The Realty One HotLine. Call 1-800-691-2345

and hear for yourself. You'll instantly access information on more than 5,000 Realty One listings, in the community and price range you select.

Then call John Lauro, and hear about how he can put our Marketing System to work for you.

1

Realty

One

食用

John Lauro, ABR

NO SLOGAN...JUST SERVICE

Office: (216) 991-8400 Voice Mail: (216) 999-2056 e-mail: Jalauro@aol.com

1999, Realty One

North Coast Men's Chorus Richard Cole Music Director Presents

Fruitcakes!

A Concert with a Mix of Your Favorite Ingredients

Saturday, December 11th 1999 8 PM Euclid Ave. Congregational Church 9606 Euclid Ave., Cleveland

Sunday, December 12th 1999 3 PM West Shore Unitarian Universalist Church 20401 Hilliard Blvd., Rocky River

$12 in Advance

$15 at the Door Advance Tickets Available at: Body Language, 3291 W. 115th St. High Tide Rock Bottom, 1814 Coventry Rd. Angel Falls Coffee, 792 West Market St. Advantix (800)766-6048 www.tickets.com