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Posts Tagged Robert Gardner

Lindner’s Line

Robert Gardner, who plays Lindner, with Director Warren C. Bowles and all cast members (in background) on Opening Night Photograph by Connie Shaver

Robert Gardner, who plays Karl Lindner, with Director Warren C. Bowles and some other cast members (in background) on Opening Night
Photograph by Connie Shaver

 

Cast members for Park Square Theatre’s production of A Raisin in the Sun, playing on the Andy Boss Thrust Stage from October 28 to November 20, were invited to tell about the line(s) in the play that most resonates with them, a poem or line(s) from a poem that resonates with them or a personal reflection related to the play.

Robert Gardner, who plays Karl Lindner, a representative from the Clybourne Park Improvement Association, gave the following response:

I’m the only white guy in A Raisin in the Sun, playing the only white character, Karl Lindner.  The role is small but crucial as he presents the Younger family (and particularly Walter) with their dilemma at the end of the play:  accept money for staying in their old home in a black neighborhood or take the risks of moving into a white neighborhood.

Lindner’s key line for me, as he makes his offer to buy the Youngers out of their new house, is: “I want you to believe me when I tell you that race prejudice simply doesn’t enter into it.” 

Well, of course it does enter into it, as is perfectly clear to the Youngers and, I’m sure, to the audience.  But I believe Lindner himself believes that he is being honest when he says this.  I also believe that his unacknowledged racism is something we all have to contend with.  And there’s a seductive plausibility to his argument that “people get along better, have more of a common understanding of the life of the community, when they share a common background.” While this may be true (and it has been the guiding principle of many communities, not just white ones), when it is adopted as a principle of exclusion, it is a formula for stagnation that denies communities the ability to grow and improve.

 

Robert Gardner as Lindner in a rehearsal with Greta Oglesby, who plays Mama Photograph by Connie Shaver

Robert Gardner as Lindner in a rehearsal with Greta Oglesby, who plays Mama
Photograph by Connie Shaver

 

What’s Realistic?

The Liar Rehearsal

All fabrications?

For the past weeks, I’ve been writing about a play in which everything seems fabricated. The title character is a compulsive liar, but just about every other character is also duping someone else. Of course, I’m referring to the comedy, The Liar, which is on Park Square Theatre’s Proscenium Stage until October 2. Yet, the fact that the play is a farce and, hence, a critique of real-life societal mores, begs the question: To what extent is the play not realistic?

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What will Jennifer and Bob Jones do?

In juxtaposition, on Park Square’s Boss Thrust Stage from September 23 to October 16 will be the play The Realistic Joneses, a comedy/drama in which we watch two couples, both with the last name of Jones and both neighbors to each other, cope with a progressively debilitating illness. Mortality is certainly a sobering notion throughout the production, and how the characters choose to face it is reflected in the play’s title. The term “realistic” suggests a no-nonsense, pragmatic approach to life; but how does this actually play out for those who must face a terminal illness? Well, by relying on a sense of humor, of course; but what more? I’ll let you find out for yourself!

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The talented cast of A Raisin in the Sun

Then from October 28 to November 20 on the Boss Stage, Lorraine Hansberry’s A Raisin in the Sun will make us ponder: How possible–how realistic–will it be for each member of the Youngers, a poor African-American family, to obtain his/her dream in a racially oppressive society?

Is the world the way Beneatha Younger claims it is to her beau Asagai: “Don’t you see there isn’t any real progress, Asagai, there is only one large circle that we march in, around and around, each of us with our own little picture in front of us–our own little mirage that we think is the future?”

Or is she mistaken, as Asagi counters: “What you just said–about the circle. It isn’t a circle….it is simply a long line–as in geometry, you know–one that curves into infinity. And because we cannot see the end, we also cannot see how it–changes. And it is very odd, but those who see the changes–who dream, who will not give up–are called idealists… and those who see only the circle–they call each other the ‘realists!'”

What an irony that theatre so often has the power to bring us closer to what is true to life–and that make believe opens the door to real self-discoveries.

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Plus Season Package Pricing:

Any 3 or more shows starting at $25 each

Any 6 shows starting at $142 total

All 13 shows starting at $294 total

(All “starting at” prices based on preview prices, standard seats.  Programs, dates and artists subject to change.)

NOTE:  All photographs in this blog were taken by Petronella J. Ystma.

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