Perfect Ganesh

Apologies for the delay in getting this out.
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‘A Perfect Ganesh' lives up to its name
JIM CAVENER TAKE5 CORRESPONDENT • PUBLISHED FEBRUARY 6, 2009 12:15 AM

New theater companies pop up in Asheville with almost alarming frequency. Somehow, the best of these gravitate to downtown's North Carolina Stage Company where they become part of NCSC's much-lauded Catalyst Series of productions by troupes without a venue of their own. The Carolina Actor's Collective surely ranks among the best of this good crop. Their first production, “A Perfect Ganesh,” is extraordinary theater, by any standard.

It isn't surprising that quality theater ensues when you have a piece by Terrence McNally — who wrote “Kiss of the Spider Woman,” “The Ritz,” “Love! Valour! Compassion!,” “Ragtime,” “Corpus Christi,” “The Lisbon Traviata” and “The Master Class.” Once add two of Asheville's most respected actors — Kay Galvin and CJ Breland, two newer talents of high competence, with all this under the splendid direction of Leslie Muchmore, it's good stuff, indeed.

McNally's work is always complex, challenging, and most always features a heavy quotient of gay substance in the script, with one or more dramatic twists that pack an emotional wallop. “A Perfect Ganesh” is no exception. This script starts with a journey into one of the most complex and challenging cultures on our globe: India. A contradiction of opposites, based in assumptions totally foreign to Western thinking, there are so many layers of meaning in this journey of two wealthy Connecticut dowagers, beyond even their secret reasons for undertaking the trip.

Symbolism abounds with multi-level metaphysical meaning, and this is theater that has as many meanings as there are viewers. Although the basic structure of the story is linear, the side-tracks of Ganesh's making continue to keep the audience on its toes through two demanding acts. Ganesh is one of Hindu India's most loved and revered gods. His elephant snout is masterfully conceived by George Martinat and Sydney de Briel, who give all four actors the ideal costume design. The two travelers wear 1993 pants suits, before they segue into sari's and shawls and sub-continent elegance.

Ganesh, as portrayed by Zach Blew is riveting. His visage is exotic, his choreographed presence evokes the most graceful and forceful of Indian ritual dance. His body paint and costumed drama create a masterpiece of movement and meaning. This playful, threatening and nurturing diety is all things to all people and is a theatrical tour-de-force. Blew will be noticed in our theater community.

The fourth actor, Bradshaw Call, portrays “the men,” several comic and farcical caricatures. Mostly he plays English speaking Indians who the women encounter on their pilgrimage. But his ferociously fey Air India gate agent starts off the hysteria with a bang. From there it is all uphill and his various native personages are each quite masterful. With this valuable versatility, Call creates a vast array of lepers and hotel managers, condescending baggage clerks and loony native hosts.

It almost goes without saying — but let it be said — Breland and Galvin are exceptional actors and they convey the despicable desperation and pathos of the pilgrims, Margaret and Katherine, with perfect panache.

Listed staff for technical and backstage support total a daunting score of known and less familiar local theater gurus. From venerable theater mavens and well-knowns such as Frank Avery and Rob Bowen to a slew of designers and techno-nerds, this large crew produces a totally satisfying intellectual, visual, dramatic and emotional experience. The loss of a child, the tragedy of AIDS, reconciliation, renewal and rebirth, legend and myth. It's all here in spades and will prove to rank among the best of the season.

Jim Cavener reviews theater for take5.