play

Actor and playwright Ellen McLaughlin, who originated the role of the Angel in Tony Kushner’s “Angels in America,” has put her own modern spin on ancient Greek dramas. Her “Helen,” a satirical reworking of Euripides’ tragicomedy and the eternal beauty myth, ought to be better known.

McLaughlin’s modern verse “translation” of Shakespeare’s “Pericles” is now receiving its West Coast premiere at Boston Court Pasadena. I’m traditionally more resistant to playwrights fiddling around with Shakespeare than I am with them updating Greek tragedy. Making Shakespeare’s plays accessible is a noble goal, but there are other ways to go about this beyond modernizing the text and diluting its lyrical beauty and nuance.

When actors understand what they’re saying, audiences tend to catch their characters’ drift while absorbing poetry that’s still at the root of the English language. But “Pericles” isn’t a play that should raise purist hackles. There is an authorship question. The first two acts and the final three may have been written by different writers. There’s an assumption that the second half is Shakespeare’s, but scholars continue to quarrel over attribution.

Julanne Chidi Hill, Desiree Mee Jung, Adam J. Smith, Joel Swetow (center), Rio Rasch, Nicole Javier and Alexander Matos in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Whatever the scholarly truth, it’s safe to say that “Pericles, Prince of Tyre,” to give this late romance its full title, is a patchwork. A strange epic yarn ignited by incest and attempted murder, the play is crammed with shipwrecks and miraculous rescues, devastating suffering and last-minute recoveries. I don’t think I’ve ever read the final act without shedding tears. That said, the play requires an extra-strength dose of willing suspension of disbelief.

McLaughlin’s most notable change concerns the frame of the play, which now unfolds in a disaster relief center. The conceit is that the worried and impatient evacuees amuse themselves with an impromptu performance of “Pericles,” of all unlikely theatrical works.

Outside, a monstrous storm rages. Inside, under flickering lights, a group of reluctant strangers is coaxed into acting out, in a converted gymnasium, a wild tale promising redemption from agonizing tragedy.

Randolph Thompson, Nicole Javier, Joel Swetow Adam J. Smith, Desiree Mee Jung and Rio Rasch in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

The production, directed by Margaret Shigeko Starbuck, runs with the makeshift energy and comical freedom that this contextual shift allows. The characters aren’t professional actors, so it’s fine for them to wear their masks loosely. Flashlights illuminate darkened spaces. And props are improvised so that pool noodles are used for jousting and an earbud case serves as an engagement ring.

Joel Swetow, in the role of Gower, smoothly marshals the narrative, advancing the story from one delightful implausibility to the next, recapping what’s happened in the meantime and, when necessary, urging some of the more reluctant characters to stay with the performance. He also takes on the role of malevolent and benevolent kings, whom Pericles (an excellent Randolph Thompson) encounters on his tumultuous odyssey.

Most of the lead players lock into their roles once the performance of “Pericles,” the play within the adaptation, is underway. Thompson is particularly skilled at emotionally investing in his character’s plight even as the spontaneous production refuses to take itself too seriously.

Randolph Thompson, Joel Swetow and Nicole Javier in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

A little meta-theatrical hamminess goes a long way, and actors in general have a tendency to overdo the joke. I appreciated the restraint that the cast imposes on itself without spoiling the fun. Nicole Javier who plays Thaisa, Pericles’ seemingly doomed wife, and Troy Leigh-Anne Johnson, who plays Marina, Pericles’ transcendentally good daughter born into sorrow, ensure that we care about the fate of a man who trails disaster behind him.

Julanne Chidi Hill, Desiree Mee Jung, Adam J. Smith and Alexander Matos adroitly flesh out the world of a play that sets virtue and vice in neon opposition. Their sporting way of differentiating their roles keep the staging brisk and lighthearted, qualities that are cleverly maintained by a design team that conjures ocean swells with a metallic-looking sheet, royal garb out of contemporary casual wear and a deadly threat from a pocket umbrella.

I missed the rhythms of Shakespeare’s music, though the most compelling poetic imagery in the adaptation is from the original. But the biggest sacrifice, one that is never fully restored unlike Pericles’ grievous losses, is the emotional weight of the play’s climax. It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek.

Adam J. Smith, Joel Swetow, Nicole Javier, Julanne Chidi Hill, Jamie Gallo, Randolph Thompson and Rio Rasch in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Johnson’s Marina performs with lovely gravitas, as do Javier’s Thaisa and Thompson’s Pericles. But the rollicking jollity that accompanies the final two acts, which includes the entrance of pirates and the abduction of Marina to a brothel, robs the ending of some of its pathos. A touch more solemnity would not have been amiss.

My eyes for once failed to moisten. But I was nonetheless relieved that Pericles’ happy ending is intact — a reassuring sight in our age of successive disasters.

Dodgers manager Dave Roberts’ tone shifted slightly Friday, as he addressed Shohei Ohtani’s absence from the lineup for the second straight day.

Ohtani was still considered day to day, and Roberts again teased his possible availability off the bench.

Roberts wasn’t quite as bullish, however, about Ohtani avoiding the injured list.

After describing an IL stint as “unlikely but not impossible” on Thursday, Roberts said Friday that he was “hopeful, but I wouldn’t say confident,” that Ohtani would avoid the IL.

There are a wide range of possibilities for Ohtani as he continues to deal with lingering pain in his right biceps. Though the Dodgers experimented earlier in the season with ways to manage his two-way workload — holding him out of the batting order on the day he pitched, giving him the day off after a start on the mound, or both — this is the first time he has missed two consecutive games. And he hasn’t pitched since July 3.

Roberts described Thursday as a “spa day,” meaning Ohtani rested, watched the game from the dugout and didn’t do any baseball activities. Roberts said Friday was a day to “start getting his body moving a little bit.”

“Let’s stay in communication, and let’s see when the time to give the green light is,” Roberts said.

Roberts said Ohtani has been “very agreeable” with the decision to rest him. Ohtani has declined multiple requests for comment over consecutive days through a team spokesperson.

“I think he wants to be out there, wants to play,” Roberts said, “but he’s understanding.”

An MRI scan of the area around his biceps and neck showed no structural damage, or as Roberts put it “nothing of note at all,” which is a promising sign. But Ohtani’s swings and body language Wednesday signaled that something was clearly wrong, affecting Ohtani’s play.

The fact that the Dodgers have not put Ohtani on the IL yet doesn’t necessarily mean that he’ll be out fewer than 10 days — it just means that they can’t rule out an earlier return. Teams can backdate IL moves up to three days. But that hasn’t traditionally served as a hard deadline for the Dodgers to make IL decisions. It isn’t expected to in this case, either.

Shohei Ohtani is hurt. The Dodgers’ rotation is injured. The team is in a fairly long slump and a first round bye isn’t remotely guaranteed.

Although having an injured player take up a roster spot for more than a few days isn’t ideal, it’s easier to cover for the designated hitter spot than other positions. And there is no obvious replacement on the 40-man roster pushing for a call-up through an extended period of outstanding play. Those factors mitigate the urgency to make a move.

In Ohtani’s absence, the Dodgers have started outfielder Alex Call at DH against left-handed pitchers, with Dalton Rushing available off the bench in the later innings.

The setup has afforded Rushing more regular at-bats than initially expected when the Dodgers activated him this week. Because Rushing (elbow) is still working through a throwing program, the original plan was to have him pinch hit one at-bat per game until he was ready to return to catching duties.

The Dodgers also have not officially ruled out Ohtani’s return to pitching, seeing even one or two innings from him as a plus. But the longer he’s out, the less likely it’ll become.

Ohtani’s planned buildup from tossing live batting practice on Aug. 22, to preparing to possibly start a little more than a week later, instead ended with the Dodgers shutting him down from throwing. Ohtani hasn’t even gone through weighted plyo ball drills in “a few days,” according to Roberts.

Asked what that meant for Ohtani’s return-to-pitching timeline, Roberts said it “certainly pushes it back.”

The priority, however, is getting Ohtani back to himself on the offensive side before the postseason — whether that means a couple days off or more than a week.

Roberts described the two-day break from the lineup as not just a physical one, but also a mental reprieve for Ohtani. He recorded just two hits in his last six games (23 at-bats). And over the past four weeks, he has a .703 OPS — compared to his .903 OPS overall this season.

“With a lot of players, when they’re not feeling well physically it adds to the toll mentally and emotionally,” Roberts said. “So I think Shohei is like that, like most players. We’re just kind of balancing how many days is sufficient to then be worth the time to get back, versus running this play out of days off and it not being adequate.”

WET weather may be on the way, but that doesn’t mean family fun has to stop.

Across the country are plenty of new indoor soft play attractions that will keep the kids entertained – even when it’s raining outside.

Geo-Play, Prestatyn

Over in the Welsh town of Prestatyn, a new soft play centre for babies, toddlers and children has just opened.

Called Geo-Play, it has colourful obstacles, slides, tunnels and places to climb.

Inside its Dragon’s Magical Sensory Cave children will be able to play amongst lots of lighting with cosy cushions, mirrors and projections on the walls.

Parts of the soft play look like a lighthouse – inspired by Prestatyn’s seaside location.

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Letherhead Leisure Centre, Surrey

Opening in just a few days’ time will be a new soft play centre in Leatherhead.

On September 6, children up to 10 years old will be able to explore a brand-new adventure play area with three slides, ball pools, climbing area, and interactive elements.

There’s a separate area for those under two; it will have a mini play frame, toddler slide, ball pool and activities for younger kids.

Parents can watch on at one of the tables surrounding the soft play and get drinks and snacks from the on-site café.

Epicland UK, Trafford

Epicland opened in July on the upper floor of Partington Shopping Centre in Trafford.

It has two soft play sections – one for twos and under and another for children aged three to nine years.

Inside is a light up racing slide and a light up warp slide along with role play areas and a ball pit.

It also has sand play, craft areas, role play and little trampolines – there’s also a mini climbing wall and a racing track with little cars.

Derby Way, Bury

This soft play may not open for a while as plans have only just been submitted to transform a former car showroom in Bury.

It will transform from its vacant unit into a new children’s indoor activity park for children aged 0 to 11.

Planning documents reveal the indoor play centre would feature soft play areas, seating, party rooms, and a café.

Customers would be able to book two hour play slots, which would start in 30 minute intervals.

Fun Parx, Banbury

This centre coming to Banbury has a bit more than soft play with Ninja obstacle courses and super slides.

Fun Parx has enormous Inflatable Monster Course where kids can race each other to the end.

Of course, for smaller kid, s here is a soft play called Critter Castle with its own ball pit, slides and turret to climb.

For gamers, there will be a retro arcade with throwback games, and the on-site cafe will serve up pizza, fries, hot dogs and soft drinks.

It was set an opening time of ‘summer 2026′, so is likely to open soon.

Sprouts Play Barn, Abingdon

Known as being a large, farm-themed indoor and outdoor soft play centre – Sprouts Play Barn has plenty to shout about.

It has a four- lane cow slide, tunnel slide, farmer’ s market role-play, a floor piano, sports court and a designated area for unde5s’s

In July work began on a new play area for even younger children.

Called ‘Crawlers & Cruisers’ it will be a soft play zone designed specifically for babies and toddlers who are not yet walking.

It’s set to open in December or January 2027.

August Wilson’s “Ma Rainey’s Black Bottom,” the first of his plays to reach Broadway, catapulted the author’s playwriting career.

It’s the only drama in Wilson’s 10-play American Century Cycle not set in Pittsburgh’s Hill District. But the series might never have come to fruition were it not for the way “Ma Rainey’s Black Bottom” heralded the emergence of a major new American dramatist.

Although it’s still one of his most produced works, “Ma Rainey’s Black Bottom” has the hallmarks of an early piece. Wilson discovers his playwriting voice in this play, but he’s still working out his approach to dramatic structure.

I wasn’t champing at the bit to see another production of “Ma Rainey’s,” but I’m glad I didn’t miss this latest Wilson revival at A Noise Within, directed by Gregg T. Daniel. Acted with breathtaking ensemble naturalness, the play seems lived in rather than performed.

Francis C. Edemobi, from left, Amber Liekhus and CJ Obilom in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The voices of the characters come through as though we’re eavesdropping from a discreet distance on their banter and squabbles. There’s nothing more riveting on stage than the truth, and here we have human beings in all their flagrant, unadorned and seemingly irreconcilable complications.

Set in a Chicago recording studio in 1927, the play splits its focus between the title character, a fictitious re-creation of the great blues singer Ma Rainey engaged in a power struggle with her white industry overlords, and the exchanges of her sidemen, a quartet of Black men with markedly different ambitions and sensibilities.

Levee, the role magnificently played by Chadwick Boseman in George C. Wolfe‘s 2020 film adaptation, may have more of a claim on the protagonist role than even Ma Rainey, who’s the play’s thematic center. As she throws her diva weight around in defense of a talent born out of Black suffering, she crystallizes the racial politics that Wilson powerfully illuminates.

But Levee’s role is the most dynamic in the play. A trumpeter who wants to move the band in a more musically sophisticated direction, he’s written his own arrangement of the song “Ma Rainey’s Black Bottom” that they’ve come to the studio to record. But Ma Rainey insists on doing it her way, even if Levee’s version is more interesting from a jazz perspective.

Overcome with anger from a traumatic childhood in which he witnessed his mother being raped by a mob of white men, he can’t tolerate slights, big or small. And his fiery temper, igniting at every possible moment with his older and more accommodating bandmates, turns this snapshot of history into genuine tragedy.

Kai A. Ealy, from left, Alex Morris, Gerald C. Rivers and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The bedraggled studio has been visually renovated with the wood-slatted elegance of Tesshi Nakagawa’s scenic design. Daniel’s production demands that we experience the play in a fresh light. The period is respected but never allowed to become stiff or artificial. This isn’t a waxwork staging.

Standing microphones, placed on different tiers of the set, never let us forget that Wilson was first and foremost a conductor of voices. He bestows on his characters arias, and Daniel’s cast delivers them as though the words were expressly made for these particular actors.

Jamar Gilbert’s Levee moves through the world as if it’s a battle zone, which of course for him it has been. Conflict has dogged him his entire life, and injustice is what he’s come to expect. His focus is on himself, his music, his sensual pleasures and his determination not to be anyone’s victim. He takes as much pride in the shine of his new shoes as he does in the flirtatious giggle of a pretty woman.

Toledo (Gerald C. Rivers), the philosopher and historian of the group, tries to broaden Levee’s perspective, but the two men have a knack for getting under each other’s skin. Their antagonism is fueled in part by Levee’s immaturity, but there’s also a divide in their worldview: Levee wants society to change in time for him to make good while Toledo is more concerned with the collective spirit of his people.

Meanwhile, Slow Drag (Alex Morris) mostly wants to get on with the session, collect his money and enjoy life as it was meant to be enjoyed, with whiskey, a little reefer and good-looking women. Cutler (Kai A. Ealy) tries to be a moderating influence, but he winds up as exasperated by Levee as Toledo.

Alex Morris, from left, Amber Liekhus and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The authenticity of the production encompasses the music. These actors don’t mime making music, as is often the case in revivals. They jam together, modestly but effectively enough to make their recording session real to us.

There’s nothing at all modest about Amber Liekhus’ musical talent. Indeed, Liekhus is the first actor who was able to convince me that the character of Ma Rainey really is a professional, jobbing singer. She doesn’t imitate being the mother of the blues, as her character is known. She earns the distinction through the wondrous depths of her soulful singing.

She refuses to be bulldozed by either Irvin (Bert Emmett), her manager, or Sturdyvant (Matt Foyer), the owner of the recording studio, knowing full well that they depend on her gift for their pile of money. Her insistence that Sylvester (Francis C. Edemobi), her nephew with a pronounced stutter, speaks the intro to her new record, is her way of asserting human control over corporate greed.

Liekhus’ Ma Rainey isn’t merely being temperamental, as Sturdyvant and Irvin assume. She’s using her limited leverage in whatever ways she can. There’s something touching about her imperiousness, a regal vulnerability that shines through even in her romantic interaction with Dussie Mae (CJ Obilom), whom Levee has his predatory eye on.

The honesty of the acting is so enlivening that I’m tempted to rank this production among the very best Wilson revivals I’ve seen. If there’s one slight misstep, it happens at the play’s violent climax. The moment makes perfect psychological and dramatic sense, but the confrontation needs a few more beats than Daniel allows.

But this encounter with “Ma Rainey” reveals that even early Wilson can, in the right hands, offer unadulterated playwriting greatness.