You will be redirected back to your article in seconds

The Method Gun

"The Method Gun" is a choice example of Rude Mechs' satirical wit and inventive performance style.

With: Thomas Graves; Hannah Kenah; Lana Lesley; E. Jason Liebrecht; Shawn Sides

Coming off the 2010 Humana Festival (and no doubt on its way to a theater near you), “The Method Gun” is a choice example of Rude Mechs’ satirical wit and inventive performance style. Riffing off the notion that a legendary acting guru has abandoned her innovative production of “A Streetcar Named Desire” and left it in the hands of her acolytes, the Austin-based ensemble sends up bizarre Method acting techniques while paying its respects to the collaborative creative process of dedicated companies like … well, like their own.

The deadpan earnestness of Thomas Graves (Thomas Graves) both invites and discourages laughter when he steps forward to fill us in on the backstory of the production we’re about to see. It seems that Stella Burden, a great (if apocryphal) teacher who pioneered a punishing training technique known as the Approach, walked out on her students and disappeared into South America, leaving the company to do what they will with nine years of rehearsal preparation for an experimental production of “A Streetcar Named Desire.”

The situation is pricelessly funny, especially when it comes out that this American classic will be performed in its entirety — only without the characters of Stanley, Stella, Mitch and Blanche. But do you really want to hurt the collective feelings of this sadly abandoned ensemble?

Maybe not; but just try holding back the laughter when the company breaks out its beloved guru’s esoteric acting exercises.

First up is “Crying Practice,” a three-minute trial in which company members line up and silently will themselves to dissolve into tears.

Another gem is “Kissing Practice,” a clinical breakdown (and illustration) of the classic stage clinch, as per an actual acting textbook.

But the piece de resistance is an exercise performed on Rasa Boxes, marked-off sections of the stage designating some dozen emotions or actions to be performed by whoever lands on that space. “Fight” means rolling around on the floor; “Romantic” invites a reprise of Kissing Practice; and “Madness” is self-explanatory.

As the years go by, with the Burden Company carrying on its endless rehearsals for that almost mythic performance of “Streetcar,” it’s only natural that they would wonder how things are going with old Stella, down there in South America, and why she left in the first place. In time, some ensemble members begin to tackle their own existential questions — like what the hell they’ve been doing with their pathetic lives. But 35 years after Stella Burden dropped out, her followers are still sticking it out, teaching the Approach to a new generation of actors and trying not to despair.

Ridiculous as it may seem to civilians, there’s something sweet and brave about that commitment to a theatrical ideal, something that would surely be understood by any company south of 14th Street.

The Method Gun

Dance Theater Workshop ; 184 seats; $30 top

Production: A Dance Theater Workshop presentation of the Rude Mechs production of a performance piece in one act created by the company and written by Kirk Lynn. Directed by Shawn Sides.

Creative: Set, Leilah Stewart; costumes, Katey Gilligan; lighting, Brian H. Scott; sound and musical composition, Graham Reynolds; production stage manager, Madge Darlington. Reviewed March 4, 2011. Opened March 2. Running time: 1 HOUR, 30 MIN.

Cast: With: Thomas Graves; Hannah Kenah; Lana Lesley; E. Jason Liebrecht; Shawn Sides

More Legit

  • Sophia Anne Caruso and Alex Brightman'Beetlejuice'

    'Beetlejuice' Musical Team Hopes to Attract New Audiences to Broadway

    In the new Broadway adaptation of Tim Burton’s 1988 cult classic film “Beetlejuice,” teenager Lydia takes center-stage alongside the titular gut-busting demon (Alex Brightman) to reflect the famed goth girl’s journey through Beetlejuice’s funhouse of death and disaster. “I think so many people connect to “Beetlejuice” because it’s a story of outsiders, Lydia being the center of [...]

  • Beetlejuice review

    Broadway Review: 'Beetlejuice'

    “Such a bold departure from the original source material!” wisecracks the odd-looking fellow sitting on a coffin at the start of the Broadway musical “Beetlejuice.” The weird, nasty and outrageous title character is talking about a short lament just sung by a sad teen at her mother’s gravesite, as he breaks the fourth wall (“Holy [...]

  • Playwright Mark Medoff author of "Children

    Mark Medoff, 'Children of a Lesser God' Playwright, Dies at 79

    Mark Medoff, the playwright who wrote Tony Award-winning play “Children of a Lesser God,” died Tuesday in Las Cruces, N.M. He was 79. His daughter Jessica Medoff Bunchman posted news of his death on Facebook, and the Las Cruces Sun-News attributed the cause to cancer. “Children of a Lesser God” starred John Rubinstein and Phyllis Frelich [...]

  • Ink review

    Broadway Review: 'Ink' With Jonny Lee Miller

    Garish, lurid and brash, “Ink,” the British import now on Broadway in a Manhattan Theatre Club production, is the theatrical equivalent of its subject, the UK’s Daily Sun — the newspaper that reshaped British journalism and propelled Rupert Murdoch’s ascent to media mogul. Like the tabloid, it feels unsubstantial, rushed and icky. You can’t say [...]

  • All My Sons review

    London Theater Review: 'All My Sons' With Sally Field, Bill Pullman

    If “All My Sons” is showing its age, it sure shows no signs of abating. Just days after a major revival opened on Broadway, moving Annette Bening and Tracy Letts into the Tony zone, up the play pops in London. The Old Vic has arguably secured the starrier cast, too: Bill Pullman and Sally Field [...]

  • Tootsie review

    Broadway Review: 'Tootsie'

    The new Broadway adaptation of “Tootsie” is old-fashioned and proud of it — and it’s a surefire crowd-pleaser, in this musical spin on the 1982 film comedy with Santino Fontana in the Dustin Hoffman role. Robert Horn (book) and Tony-winner David Yazbek (score) have a high old time poking fun at theatrical rituals — the [...]

More From Our Brands

Access exclusive content