I came to this play fully expecting it to be a sing-along of Beatle’s songs. You remember “Octopus’s Garden,” don’t you? Instead, I was surprised to find that the play, written by Weston Gaylord, was indeed about music, but the Beatles had very little to do with it. As you will find, the exquisitely celestial music that is celebrated in this play is …. Well, found somewhere else. And that’s the mystery that unfolds!
You’ve heard the term, “It takes a village”? To tell this story, not one; not two; but THREE theatre companies combined their resources to create this work. Circle X primarily provided the space and talent to develop the script, while Outside In Theatre brings us the puppet, Sylvia, who “swims” with fluidity in a tank that is provided by the wonderful technical skills at Boston Court.
Now I must tell you how much I love Sylvia: yes, she is a puppet impersonating an Octopus. And therein lies the tale! The play concerns two researchers, head scientist Lars (Tim Cummings), in charge of a lab looking into the intelligence of Octopuses; and Tara (Kacie Rogers), his new partner, just elevated from assistant.
The two have several octopuses under investigation in order to learn how their intelligence works. In the process, we, too, learn how unusual these creatures are, and (conservationist’s note: protecting them should be a priority!)
At rise, it is Tara who takes charge of the experimentation that the scientists hope will verify their suppositions about how an Octopuses’ divided intelligences combine to give them super-aptitudes. She develops a timpani machine that she is certain will prove how an Octopus’ creativity is superior to our own. What transpires is not only a tug-of-war about the research, but the revelations that musicality can thrill and unhinge us in equal measure. Supporting Tara in her assertions, her composer boyfriend, Lucas (Vincent R. Williams), helps her to begin going forward, but has reservations. This creates a three-way argument over Sylvia’s efficacy.
Although we never really hear the music, it is thrilling to contemplate the role that music plays in our lives. To help us imagine the Octopus’s creativity, Boston Court has assembled a stellar group of designers: everything from a giant, lighted tank for Sylvia (and her three puppeteers) to float designed by Francois-Pierre Couture; audacious lighting design by Karen D. Lawrence; costumes by Wendall C. Carmichael; and especially sound (or non-sound) from Noel Nichols.
Don’t worry if you feel this is above your paygrade for attending an entertaining evening out. Although the Octopus herself is a bit of a lumpy thing, playwright Gaylord’s sympathetic portrait of Sylvia will allow you to sympathize with her plight and ultimately fall in love with this unique creature. Gaylord’s telling is so rich in detail you’ll understand, not only about Octopuses, but the limits of our own creative abilities. Chances are, you’ll want to dig deeper after you’ve seen the play.
Octopus’s Garden runs through April 5th, playing Saturday and Sunday, March 14th and 15th at 2 pm and 7:30 pm; Friday, Saturday on March 20th – 21st at 7:30 pm; and Sunday, March 22nd at 2 pm and 7:30 pm. Monday, March 23rd at 7:30 and Friday at 7:30, Saturday at 2 pm and 7:30 pm & Sunday at 2 pm (March 27-29), and finally, Thursday and Friday (April 2-5) at 7:30, Saturday and Sunday at 2 pm, and Saturday at 7:30; all at Boston Court Theatre, 70 N, Mentor Ave., Pasadena, CA 91106. (There is free parking is available directly behind the building) For reservations, phone: (626) 683-6801. Or, for online ticketing, go to: https://bostoncourtpasadena.org.
