The Big O: Tania’s Tour de Force Is a Triumphant Return to the Stage

Move over, Christopher Nolan – here’s another version of The Odyssey, but told from a woman’s point of view. According to playwright Jami Brandli’s playbill note, O: A Rhapsody in Divorce is “a comedic reimagining of The Odyssey,” featuring a crucial plot twist in Homer’s saga wherein, as Brandli observes, “the male hero go[es] on this life-changing journey while the woman stays home waiting for their man to return.” In her feminist take on the Homeric tale, it is the female protagonist who embarks on a voyage.

But instead of meandering across the Mediterranean for a decade back to true blue Penelope, in Brandli’s yarn her heroine couch surfs across an unspecified modern urban American landscape. Along the way she “encounter[s]” what Brandli calls “a modernized Cyclops, Circe, and Athena,” plus I might add Sirens. Rather than the Trojan War, what catalyzes the lead character’s trajectory is divorce after a 10-year-marriage, catapulting O into a Brave New World of mating, dating, self-discovery and more.

Tania Verafield fully embodies the 40-ish neurobiologist O with a powerful performance that clearly establishes her along with luminaries such as Ann Noble as one of the L.A. stage’s best actresses with range as wide, shall we say for the purposes of this review, as Odysseus’ epic wanderings. At first O, who is offering her husband (Andrew Brian Carter, who is monikered “Man” in the playbill, and like all of the thesps besides Verafield, plays multiple roles) an “enchanting blow job,” is completely blindsided by his announcement that he wants a time out from their marriage, with no contact for an unspecified period of time.

Although she’s a neurobiologist, it has never dawned on the “brainy,” peripatetic O that there might be trouble right here in the River City of her marriage (to paraphrase The Music Man). It didn’t occur to the career driven O that her long absences while pursuing professional aspirations that her spouse would not be content, Penelope-like, to weave and patiently await her intermittent returns. Thus begins their unexpected (for her) separation and the start of O’s wanderings and quest for a new life and fulfillment. When gobsmacked O shrieks sitting atop what appeared to be a double bed, it literally splits apart (into two sections) – either serendipitously or as a preplanned part of the mise-en-scène.

Suffice it to say that in the dense, 90-ish minute first act, O surfs from couch to couch as she strives to get her act together. Will she meet Mr. Right? Or Ms. Right? Or will she reunite with the Man who she comes to clearly see is “Mr. Wrong”? Along the way she experiences many misadventures, some with Homeric references. All of the vignettes are too numerous to detail (unless I was paid by the word, that is), although a couple do stand out. At a sort of wacky, pretentious grief support group for divorcees, O comes face to face with a phallic crystal that might make Gwyneth Paltrow blush.

In what may be a reference to Odysseus’ amours with Calypso at Ogygia, O reconnects with a past lover (Carter in one of his multiple parts). It bears mentioning that the script is not particularly fair regarding the male characters, a case in point being O’s dalliance with her ex, who she arguably mistreats after he’s rather gallant and more to her. O’s husband is also never fully fleshed out (although he’s certainly flushed out). He’s not a house husband and is described as having a successful career, but what type of job he has doesn’t even merit a mention. (Financial woes don’t enter the picture in this play.) Likewise, when he breaks his silence after four months apart to reach out to his estranged wife, over dinner he’s petulant, self-absorbed, and what he wanted to discuss with O, who at first is hoping for a reconciliation, is never divulged. And his complaint over their marriage, that he’s “unhappy,” is simply dismissed – as if one should spend his/her life in an unhappy state of wedded non-bliss. The play is also ambivalent about sex (straight or gay or what-have-you) and full of missed opportunities about something that’s nevertheless yearned after by the couples, along with the joys and solidarity of having a loving partner.

Nevertheless, it’s all excellently acted, with Verafield a verifiable tour de force and revelation as the lead. Director Jessica Hanna, founding Producing Artistic Director of Outside in Theatre, deftly helms her ensemble, which includes Donna Simone Johnson (accredited as “Woman”), a very strong second in various roles, including as O’s sister or as a potential lesbian lover. Rose Portillo, who is accredited as “Older Woman,” portrays sage elders who dispense wise advice, including O’s long-suffering mother and a waitress who metaphorically serves pie. Alexandra Lee as the “Young Woman” has a nimble, often lighthearted stage presence. As mentioned, Carter picks up the slack as playing all of Rhapsody’s male roles.

After about three years of not appearing in a full play, it’s a delight seeing Verafield where she belongs: Back on the boards. I’ve covered her career for a long time, including as the unforgettable Lizzie Lightning. We first met about 20 years ago through her grandfather, the beloved screenwriter Bobby Lees, a hero of the Hollywood Blacklist who refused to snitch. I’m pleased to say that I’ve truly never seen Tania better than she is as O. However, I also have to confess that watching somebody I care about suffer onstage was at time painful to me. I had to keep reminding myself: “She’s only acting!”, even though it was a totally convincing, truthful performance that seemed all too real for me.

I’d be remiss not to single out sound designer Amelia Anello, who imbues this latter-day adaptation of elements of The Odyssey with a stormy soundtrack that’s apropos for one who has been out at sea for a decade or so. The design collective Scene Shift’s scenic design enhanced the agile, mobile vibe inherent in a play about a sojourn. Towards the end, the roof briefly opened, then closed, letting the light in at a moment of personal illumination, although upon checking, it turned out to be merely a technical snafu. (As a stage technique it would be a perfect touch – although this moment of letting the light in would only work during matinees!)

I also want to give a shout out to Outside In Theatre, a new kid on the theatrical block that’s only been around since September, but whose addition to L.A.’s live stage scene is a happy addition. The second I entered the space I was warmly welcomed (Managing Director Maisha Azadi Sebastiany, who imparts an inner glow, had no way of knowing I was a reviewer, so she wasn’t currying favor). The ample venue includes a 99-seat theater and a smaller black box theater, as well as original artwork (in this case by Sharon Kagan) and a well-stocked bar. (Just the thing a jittery thespian needs before hitting the boards!) A sumptuous feast of – appropriately! – Mediterranean cuisine plus (but of course!) pie was served at the premiere’s after party inside the café and lounge. Outside In Theatre was founded by actors Tamlyn Tomita (unforgettable in 1990’s Come See the Paradise) and Daniel Blinkoff, who spoke before the proverbial curtain rose, welcoming ticket buyers to the new playhouse in Highland Park.

I enjoyed Rhapsody’s ensemble acting and this play is for theatergoers who love stellar performances and are interested in women’s issues and themes revolving around relationships and a search for self-fulfillment and enlightenment. It was great to see Homer’s Odyssey imbued with a woman’s sensibility. What’s next? A feminist makeover and reimagining of Jack Kerouac’s On the Road, featuring female voyagers Sally Paradise and Dina Moriarty careening across America? Well, why the hell not?

O: A Rhapsody in Divorce is being performed on Mondays, Tuesdays and Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. through June 9 at Outside In Theatre – ArtSpace, 5317 York Blvd., Los Angeles, California 90042. Tickets here. For more info, go here.

Photo credit: Mallury Patrick.