Rebels with a Cause, Sort Of

Over the course of his long and storied career, maverick American director Robert Altman reeled off a handful of cinematic corkers: Nashville, M*A*S*H, Gosford Park. Among Altman’s lesser films, sandwiched between Popeye (yes, Popeye!) and Streamers, is an adapted play with the sesquipedalian title of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. Folks of a certain age probably recall Cher in that one. And, like me, you may also remember it, vaguely, as a musical along the lines of Hairspray. But it wasn’t, and isn’t.

That the Very Little Theatre — which seems to choose its productions quite strategically — has opted to mount a production of Ed Graczyk’s 1976 play likely has as much to do with Altman’s enduring influence as it does with the play’s mildly shocking sexual and political content. Graczyk’s play is a sort of anti-nostalgia piece, set in a small, depopulated Texas town where, in the nearby town of Marfa, James Dean’s final movie, Giant, was filmed. The play’s slight narrative centers on the 20-year reunion at Woolworths of the Disciples of James Dean, a group of friends whose worship of the tragic icon brought them together in high school.

It’s no wonder Altman, with his penchant for directing ensemble pieces with lots of cross-talk and subtext, was drawn to Graczyk’s play, which traffics in the smaller pleasures of drama. The play is short on fireworks. This is not to say it lacks appeal; rather, its appeals are somewhat windy and soporific. You have to be in the mood. VLT director Karen Scheeland does a credible job navigating some of the play’s technical and aesthetic difficulties, the most challenging of which is keeping the jumps between 1955 and 1975 clear and fluid (the two generations often occupy the stage simultaneously).

Come Back to the Five and Dime, etc., is a talky, meandering play executed in close quarters and no easy task for an actor. If some clunky delivery and dicey movement (careful on that ladder!) occurred the Thursday I attended, for the most part everyone performed admirably. The small cast includes Shamra Clark (Edna Louise), Sarah Etherton (Stella May), Sabra Slade (Sissy), Sean Dugan as the sexually confused teenager Joe and Nancy Hopps as Mona, who is inextricably and mysteriously linked to Joe. In the role of the shopkeeper Juanita, actor Gloria Lagalo perfectly captures the pinched Christian denial of a widow living in la-la land, and Naomi Todd is nicely skittish in the role of young Mona. Good as always is Sarah Glidden as young Sissy and Tere Tronson is vampishly enigmatic as Joanne.

Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean runs through June 15 at the Very Little Theatre; $12-$17.

A Note From the Publisher

Dear Readers,

The last two years have been some of the hardest in Eugene Weekly’s 43 years. There were moments when keeping the paper alive felt uncertain. And yet, here we are — still publishing, still investigating, still showing up every week.

That’s because of you!

Not just because of financial support (though that matters enormously), but because of the emails, notes, conversations, encouragement and ideas you shared along the way. You reminded us why this paper exists and who it’s for.

Listening to readers has always been at the heart of Eugene Weekly. This year, that meant launching our popular weekly Activist Alert column, after many of you told us there was no single, reliable place to find information about rallies, meetings and ways to get involved. You asked. We responded.

We’ve also continued to deepen the coverage that sets Eugene Weekly apart, including our in-depth reporting on local real estate development through Bricks & Mortar — digging into what’s being built, who’s behind it and how those decisions shape our community.

And, of course, we’ve continued to bring you the stories and features many of you depend on: investigations and local government reporting, arts and culture coverage, sudoku and crossword puzzles, Savage Love, and our extensive community events calendar. We feature award-winning stories by University of Oregon student reporters getting real world journalism experience. All free. In print and online.

None of this happens by accident. It happens because readers step up and say: this matters.

As we head into a new year, please consider supporting Eugene Weekly if you’re able. Every dollar helps keep us digging, questioning, celebrating — and yes, occasionally annoying exactly the right people. We consider that a public service.

Thank you for standing with us!