By Joe MarcellusIt was my pleasure to attend a live performance of the Troubadour Theatre Company’s production of Lizastrata (Get it? Because it’s an adaptation of the Ancient Greek Comedy Lysistrata by Aristophanes about the women of warring nations banding together for a sex strike to end the carnage, and also kind of Liza Minelli-themed) at the ever-stunning Getty Villa.
My companion and I had a lovely evening snacking on cheese and crackers with eggplant spread (the concessions are themed appropriately with Athenian and Spartan names attached to various salads and charcuterie options) before sitting down to the 90 minute romp adapted and directed by Matt Walker. The company delivered strong performances, particularly from the amusing Rick Batalla, Cloie Wyatt Taylor (our title character who has a strong ear for classical language) and L.T. Martinez, who managed to connect strong dance technique with strong character.
Performances at the Getty Villa are always a delight, particularly when returning to live theatre after a harrowing year and a half. The venue is majestic and I would be happy to watch anything under the four stars that speckle the Malibu sky. Lizastrata is good fun and authentic to the Ancient Greek Comedy experience. Plenty of winking can be expected as the cast breaks the fourth wall to make familiar if not necessarily sophisticated political jabs so often I started to wonder why they bothered looking back at the other players in the scenes. The intelligence of this Lysi-sorry, Lizastrata , however, is that it does not take itself seriously and not for a moment does it promise that it will be moving past the vulgarity we can be sure was packed into the original production back in 411 BC (right about when Wicked took up residence at the Gershwin). Indeed, the comedic bar on this play is truly so low that it can be heard rolling away on the pristine Getty Villa floor throughout the evening. That’s half the fun though, and the other half is scratching your head wondering why on Earth they chose Liza Minelli as the central theme of the play.
For here’s the thing, or at least a thing about Liza Minelli: despite all the luscious sensuality that inhabits her performances, she is not an explicitly sexual being. Ms Minelli is about entertainment; the concert production of Liza with a Z was specifically designed by Bob Fosse (not to mention wardrobed by the iconic Halston) to showcase Liza’s sweat and tears and to examine how vulnerably and desperately a true entertainer has to work on the stage under the lights and over the orchestra (remember those? The Troubadour band is quite lovely and bless them for including live music).
Bob Fosse was the ideal collaborator for Liza in part because he, like her, was sensual but not vulgar. So then Liza and Lysistrata in all its crass displays share little more than the letters “L,” “I,” and “A.” This juxtaposition could itself be compelling if Liza were explored as a subject more expertly. The Troubadours are brilliant at slapstick and certainly deliver Lysistrata as it should be enjoyed. They are not, however, well versed in the Z-factor. Still, I think it’s safe to say that a good time was had by all, including me, and that the songs-though certainly not a strong representation of Ms Minelli outside of her work in Cabaret, were fun enough. Plus I got to get up on my Gay High Horse about Liza Minelli so I really should thank the Troubies for including her, however haphazardly.
“Lizastrata” will run through October 2nd and is the 15th annual outdoor production in the Barbara and Lawrence Fleischman Theater at the Getty Villa. Adapted from the original Lysistrata by Aristophanes by Matt Walker, who also directs. Co-produced by Troubadour Theater Company.
