Poignant Irritations

Reviewed by Holly Bartges

It takes genius to capture genius. To capture the essence of Gertrude Stein in a span of a couple of hours can be likened to coxing a lightening bug into a jar expecting him to not only light up one room, but the entire house. That didn’t stop Steve Wilson, executive artistic director of the Mizel Center for Arts and Culture to commission Melissa Lucero McCarl to do just that: capture Gertrude Stein.

(From left to right) Billie McBride as Gertrude Stein and Erica Sarzin-Borrillo as Alice B. Toklas in the world premiere of Melissa Lucero McCarl’s Poignant Irritations Photo by Larry Laszlo

Gertrude Stein didn’t just play with words. Words played with her. A philosopher of the Nth degree, Gertrude Stein would entitle an essay Coffee that had everything to do with coffee, though it may not appear as such with a first reading, then it slowly sinks in. Her entangled words reach further than just coffee. They actually follow the aroma as far as it swirls through the atmosphere with calculated philosophy.

McCarl not only met the challenge, but produced a brilliant script revealing the inside swirls of Gertrude Stein: arrogant, confident, relaxed in her genius, Gertrude Stein needled unmercifully anyone who didn’t address her as such.

In a world premiere, the Mizel Center proudly presents McCarl’s play Poignant Irritations under the direction of Wilson’s astute vision, slammed with power by two of Denver’s outstanding actors: Billie McBride and Erica Sarzin-Borrillo.

Rhythm of life and rhythm of words created constant rattling for Gertrude Stein’s brain. Rhythm and her life-long relationship with Alice B. Toklas. To maintain her genius, Gertrude Stein insisted it took a whole lot of time doing nothing. Fortunately for her and the rest of the world, she had Alice to fill in all the necessary gaps. Gertrude Stein could no more be placed in a box neatly tied with a red ribbon, than a chronological escapade in a two hour play could do her justice.

McCarl grasped this in her writing, flinging time and space out the window. Tying Gertrude Stein’s private and public thoughts together with intermittent scenes that appear to be loosely connected, become very much connected in the overview of the production.

Tina Anderson imprinted the stage of the Pluss Theatre with a set designed that gives a taste if what the Parisian atelier (salon) of Gertrude Stein and Alice B. Toklas at 27 Rue de Fleurus might have been. As though writing a play of their own, the scenes skip haphazardly with distinct purpose through time periods between 1907 and 1947. Alice refers to Gertrude Stein as Lovey. Gertrude Stein calls Alice Pussy and Minx. Their relationship so intertwined, interdependent, feeding off each other, McCarl took a bold step to underscore the oneness of the relationship by having the actors switch roles in Act Two. During Act I McBride wears the mantle of Gertrude Stein, zipping it snugly in heart and soul. While Borrillo wears the flowing flowered dress of Alice in depth and spirit. During Act II, they switch costumes, switch demeanors, switch personas. Not only a brilliant concept, but brilliantly executed. Their salon an art gallery with a fire place, they prided themselves with the art work of Picasso and Matisse, as well as entertained the cultural art world with tea and cookies. Picasso imprinted Gertrude Stein with new ideas and thoughts, while Gertrude Stein highly influenced her contemporary writers, especially Ernest Hemmingway. Bold, brazen, and deadly honest, Gertrude Stein didn’t think outside the cultural box, for her there was no box to think outside of.

Poignant Irritations is a stunning awesome kernel of truth brought to life by Wilson, McBride and Borrillo, resulting from the insightful finger of truth insight of McCarl. Under no circumstances in anyway shape of form should this illustrious production be missed. It promises to tickle the imagination of wanting to know more about Gertrude Stein and what made her tick, as well as what didn’t. It promise a jaw dropping theatrical experience by two top flight actors, and a flair of McCarl’s own genius to capture a lightening bug in a bottle and actually have it light up an entire house.