REVIEW: Scott & Zelda. The Beautiful Fools. Performed by The Ross Valley Players, Barn Theater, San Anselmo. April 12-28 2019.

Life imitates art in this compelling, minimalist exploration of the marriage of F. Scott Fitzgerald and Zelda Sayre. This production was produced by the Ross Valley players as part of the admirable RAW, (Ross Valley Alternative Works), program. I confess, I went in not knowing much about the man behind ‘The Great Gatsby’, or his wife, but left with a picture of how a high profile, champagne fueled, marriage involving two creative personalities imploded.

The play was written by Lance S. Belville, and directed by Lynn Lohr, both founders of the History Theater in St Paul, Minnesota, but now Sausalito based with a strong list of performances behind them. The story unfolds from F. Scott Fitzgerald’s viewpoint in 1938, as he reminisces over his 20 year relationship, from first meeting Zelda in Alabama, through the glory years of the 20’s in Paris, New York, the Riviera and Hollywood, to the sadder tail end of the relationship in the 1930’s.

It spent time on the pain Zelda derived from living in the shadow of America’s ‘most highly paid short story writer’, and her struggle to try and develop a career and identity of her own, at a time when it was much harder to be an autonomous woman. It portrayed her as a complicated character, and explored the idea that the couple sabotaged each others careers. Their role as parents to a precocious daughter was also shown to be flawed and highly unconventional for the time. Although both characters came across as exasperating at times, overall judgement for the demise of their tempestuous relationship was withheld. They were ‘Beautiful Fools’ after all, and as such, there are some obvious parallels with ‘The Great Gatsby’, itself. The term ‘Beautiful Fool’ was coined by Zelda upon the birth of her daughter as her ironic intention for her life, but the words were given to Daisy Buchanan in the great novel. The Bacchanalian excess, the squandering of wealth, the infidelity, the demise of greatness, the pull of the past, and the historical setting are all themes from the novel that are reflected in the play. Bearing that in mind, this play is more appropriate for adults and teenagers than younger children.

Although there was interactive acting, much of the staging is based around F. Scott’s reflective monologue. Internal struggles and important conversations were spelt out with all actors facing the audience in a stylized manner which was an interesting and effective directorial device. This was a small and intimate production. Twenty parts are played by eight actors, so there was doubling up, which was well managed. The stage set was bare minimum, limited to a projection of the Great Gatsby book cover and basic furniture. Costumes too, were unextravagant but well chosen, in this intimate production, which further emphasized performance and story.

Emily Dwyer, as Zelda, not only bore a strong resemblance to her real life counterpart, but gave a strong and emotional performance as the overshadowed wife. Frankie Stornaiuolo as F. Scott himself, delivered an equally strong portrait of a great writer plagued by writer’s block, alcoholism and debt, with overtones of Jimmy Stewart and Gregory Peck in his approach. We had encounters with Groucho Marx, confidently characterized by Peter Warden, and Scott’s drunken crony, Ernest Hemingway, equally well played by Izaak Heath. Charlotte Curtin, as the Fitzgerald’s young daughter, Scottie, also came across strongly, as did the rest of the cast.

I enjoyed the fact that after the play, the cast, writer and director came out to socialize with the audience, making themselves available for questions and discussion. I’m a huge fan of small productions, and to see one involving so much talent was a treat. It was an interesting, original and most importantly, entertaining piece of biographical theater.

The Barn Theater itself, is newly refurbished with swanky and comfortable new seats and a newly sloped auditorium for a clear view of the stage. I sat at the back and still had no trouble seeing the performance. I’m very glad to see this little gem of a theater thriving.

Ross Alternative Works are to be venerated and applauded for giving a voice to emerging Bay Area playwrights. In their own words they are ‘dedicated to stage reading, work shopping and producing original, provocative and exciting new scripts by Bay Area playwrights.’ “Well wow!”, is all I can say to that. We are beyond lucky to have this program in our community. If you like intimate and intelligent alternative theater, or even want to submit a script, make sure to follow this program closely. They have an interesting series of readings of new works, plus discussion with the writer, on Thursday nights.

Review by Hannah Yurke. 

Production photos by John Navas.