Review: Marie stands out in long, complicated, but relevant ‘Oslo’
There’s a whole lot of testosterone on stage in Los Altos Stage Company’s production of “Oslo,” which runs through Feb. 16 at Bus Barn Theater in Los Altos.
Despite the fact that this Tony Award-winning drama has a cast of 10 men – most of whom are full of arrogance and opinionated ignorance – it’s one of “Oslo’s” three female characters who wins the heart of audiences for her simple, plain-spoken truths (and funny asides to theatergoers).
That wisecracking gal is Tanya Marie, playing a little blonde named Mona Juul, a Norwegian aide to the foreign minister married to tightly wound Terje Rod-Larson (Robert Sean Campbell), a Norwegian sociologist. Terje has convinced his wife that the best way to solve the long-simmering feuds between the Israelis and the Palestinians is through what they describe as “back-channel” meetings and, later, negotiations between representatives of both countries.
So why are these events taking place in Oslo, Norway – and without the knowledge of American diplomats?
As Mona sweetly explains it, “We have what the Americans don’t have: The appearance of neutrality. Though this thoughtful, frequently difficult-to-follow play by J. T. Rogers was written only a few years ago, its timeframe is the 1990s. Director Gary Landis, LASC’s artistic director, helps the audience better understand both the timing of events as well as their locations by using a lighted screen on the back wall that flashes years, dates, the names of cities and countries as the play progresses.
With the many clashes, deaths and accusations that have happened between Israel and Palestine during the last year alone, “Oslo” is as relevant as ever in 2020. Today, the Palestine state is a geographic region in Western Asia that some people believe includes Israel, the West Bank, the Gaza Strip and perhaps even parts of western Jordan.
Of course, Israel does not accept this as true, so that there is no lasting peace, and Palestine and Israel continue to fight, especially over the Gaza Strip.
That’s what makes “Oslo” relevant, but it still doesn’t make the play easy to understand. And at almost three hours (with two 10-minute intermissions), it’s way too long to hold the attention of many in the audience.
It’s also best to know that Rogers’ play is not considered completely factual. Instead, it’s a recounting of true life events in a dramatized, partially fictional form. Then there are the character names – it’s impossible to keep track of who is who! Which one is Joel Singer? Is Peter Mandel Jan Egeland – or is he the second character he plays: Ron Pundak? And why are
they in this play? Are they an integral part of the narrative? At times, it’s best to forget who’s who and just go with the flow.
In addition to Mona and Terje, there are several other indelible characters: Mohamed Ismail is a solid, frequently indignant Ahmed Ismail, who was a Palestinian negotiator in the play but later became the prime minister of the Palestinian National Authority. Michael Sally is fine both when he’s a low-level Israeli negotiator (with no real power) and when he returns as Shimon Peres, who was Israeli’s foreign minister and helped negotiate a peace accord with Yasir Arafat, leader of the Palestinian Liberation Army (PLO).
So this isn’t lighthearted stuff. Two other actors stand out for making lasting impressions: Maya Greenberg, an Israeli actress in real life, breathes fire and spirit into her characterization of Yossi Beilin, an Israeli politician and scholar who’s served in many ministerial and leadership positions in the Israeli government.
It takes awhile for the audience to warm up to Josiah Frampton as Uri Savir, an Israeli diplomat and politician who was the chief negotiator of the Oslo Accords between 1993-96. At times he comes across as a bit too charming and flirting with Mona, but later he’s quite demanding.
At one point he tells the Palestinian delegates “We do not view you as ideal partners for peace.”
Actually, it’s these infrequent, somewhat humorous, comments, usually from Mona but occasionally from others, that help keep the audience’s attention. In what should have been a defining final scene, director Landis instead has all the players on stage, backs to the audience, staring at a large, grainy projection of the historical moment in the White House Rose Garden when Bill Clinton smiles as Arafat and Perez shake hands. But many of the actors are so tall it’s difficult for audience members to actually see the projection. It would have worked better if they had lined up on the periphery so theatergoers could glimpse the screen.
As dialect coach, Kimily Conkle has her hands full, making sure the Middle Eastern, Israeli and Norwegian accents all sound relatively authentic, though it is very difficult to figure out which accent one actor has in Act 2.
Scenic designer Christopher Fitzer put together a set that can be quickly transformed from Mona’s dining room, to her living room, to the negotiation room and more. Lighting by Carson Duper always seems sufficient and Ken Kilen’s sound is clear. If you go, just be prepared to buckle down and concentrate on the sometimes-confusing events on stage. A good show, but tough to sit through – especially at that length.
Joanne is a member of the San Francisco Bay Area Theatre Critics Circle and Theatre Bay Area. Email her at joanneengelhardt@comcast.net
Theater
What: “Oslo”
Where: Los Altos Stage Company, Bus Barn Theater, 97 Hillview Ave., Los Altos
When: 8 p.m. Wednesdays-Saturdays; 3 p.m. Sundays
Through: Feb. 16
Tickets: $20 (student rate) – $38; 650-941-0551 or www.losaltosstage.org