The Curran Theatre, at Union Square in San Francisco (445 Geary), is a historic and gorgeous theatre. Under the current arrangement of SHN Broadway, it is the venue of some of the most acclaimed theatre in the United States, if not the world, as is the case with its Old Vic touring production of Richard III, starring Kevin Spacey as evil incarnate, and directed by Sam Mendes.
However, where one sits at the Curran will, to quite a degree, determine the enjoyment of one's theatre experience. And it's not just a matter of paying more. On the other hand, some of the more expensive seats - those in the mezzanine - proved to this viewer to be defective in sound. Bottom line: Be careful where you sit at the Curran Theatre.
Not All Sound is Equal
Whereas mezzanine seating appears to be quality seating, at the Curran there can be problems in the rear mezzanine (and some audience members even reported problems toward the front).
The problem may be that the balcony hangs way over the mezzanine and may be absorbing much of the sound. Or it may be the placement of the mics or speakers. Whatever, it needs to be fixed for future world-class productions.
Women's Voices Mostly Muddled
In the production of Richard III, with Kevin Spacey (ending October 29, 2011) the women's voices, save for that of Queen Margaret (Gemma Jones, ) were mostly muddled to the point of incoherence. This viewer has read Richard III numerous times and taught it at the college level at least half-a-dozen times, and she found even familiar passages difficult to discern.
This was a real shame, since Spacey's performance, the set design, the musical effects (timpani drums) and convincing sadism and salacious hideousness of Spacey's Richard were theatrically stunning. But if the viewer cannot hear Shakespeare's words from the mouths of this array of great actors, much that is glorious about Richard III becomes a matter of discontent, not to mention frustration.
Listener's Aides
This viewer noticed a basket of "Listener's Aids" outside the door to the theatre, and wishes now she had picked up one, but cannot attest to how these work, or how well they work. But she can attest to this: with few exceptions, the only consistently clearly audible actor was Spacey. Why the register of his voice carried through to the rear mezzanine so well may be a technical matter, or a matter of his amazing articulation.
The other actor whose marvelous Shakeapearean lines were audible and comprehensible consistently was Queen Margaret, played by the wonderful Gemma Jones, and it is good thing, because her lines are those of the prophetess, who forbodes the horrors of Richard's murderous rain toward his reign. It would be hard to fault the esteemed line up of British/American actors for failing to enunciate, including Maureen Anderman as the Duchess of York; Haydn Gwynne as Queen Elizabeth; and Chandler Williams as George, Duke of Clarence. One fears it may be the Curran itself.
So whether or not the theatre-goer has a hearing problem, sitting in the mezzanine, it may be wise to pick up one of the listener-aid devices.
What you Pay For
The balcony, though higher than the mezzanine, reportedly has fewer problems soaking up sound. And the price is much less. So before spending $100+ on a Curran Theatre experience, it might be wise to consider the sound, as well as the vista. And if the play is Shakespeare, it would be better to sacrifice proximity, and not sound. For in Shakespeare, the language is the thing.
Competing Concession Noise
To add to the frustration was noise coming from the concession set-up during the first 2/3 of the play! From the rear mezzanine, audience members could actually hear glasses clinking and tables being arranged just outside, where mezzanine and balcony viewers would line up for refreshments during the "interval" for Richard III. Several members of the audience could be seen getting up during these noises.
Perhaps Regina Guggenheim, Currant VP, Production & Theatre Operations, should be informed of these distractions and sources of discontent.
When the acting, the lighting and set design of a Shakespearean play are all top-notch, along with the amazing direction of Sam Mendes (who directed Spacey in the film, American Beauty), not being able to hear the actors, and having to put up with concurrent concession set-up noises is terribly frustrating, not to mention an insult to the production and cast.
This viewer can only hope that this was an anomaly at the Curran, or that these defects will be addressed for future productions of world-class performances.
Leah Abramovitz - Laura Bernell, Professional Writer since 1984; Community College Adjunct English Instructor since 1982.
