"Bird Catcher"

“Bird Catcher” Black Repertory Theatre. Music, book, and lyrics by Margaret Klim. Directed by Sean Scott.

Margaret Klim’s “Bird Catcher,” directed by Sean Scott is a timely, yet uneven, musical comedy. As stated on the program notes, US government’s

NSA and covert intelligence agencies collaborate using artificial intelligence computers, cellular technologies, and tracking satellites to remote neural monitor, use EMF weapons on and track law-abiding citizens by the bioelectric fields.

It should be common knowledge by now that this is not far from the truth. Ever since the Cold War, secret government agencies in cahoots with the Pentagon have been devising ways to track people they consider a threat to US “interests.” Films like “The Manchurian Candidate” and “Enemy of the State” are based on the premise of mind control and electronic surveillance. One of the most effective mind control devices in use today, used against protesters at the recent G-20, WTO, and IMF conferences and meetings, is the “sound cannon” which emits ultra hi-frequency noise that causes protesters to scatter.

“Bird” ’s large cast of twenty-three are well-directed by Scott in that many actors are on the ample Black Repertory Theatre stage at the same time. Raul DeLarosa is outstanding as Supercryptologist. He heads up a NSA unit in charge of spying on and zapping the protesters who are also poets who write protest poems and songs. DeLarosa’s character, in a double-breasted gray suit and the obligatory spy shades, delights in watching his victims writhe under EMF emissions. He laughs, giggles, sings, and dances. His right hand Spy, Mr. Smit (Angela Davenport), and Spy Interns, nos. #l and #2 (Angi Peterson, and Lamar Osborne) in black suits, ties, shades, and fedoras, are sober and serious as they carry out his orders.

One protester, Sara (Rebecca Faiola), is especially vociferous, even after Raul and his team disable her to the point of her having to use a cane. His team bugs her apartment, where the poet/protesters meet, while she is away. The PPs also gather in a café, which, after being electronically zapped, have turned the café into a paean to patriotism. The mike stand is decorated with red, white, and blue feathers, and a woman sings “God Bless America,” as the pleased NSA team lingers ominously in the background. A subplot concerns Essie (Monica Justice) and a former Soviet lover, Dima (Marlon Diedrich), who has gone incognito as the Uncle Sam top hat wearing waiter in the café. Her love song was sung by another woman, accompanied by a pianist, as Justice mimes to it, which was puzzling. However, some soloists are strong (Vocal Coach, Faye Carol, piano accompaniment, Kito Gamble and Marco Casasola), yet others, actors included, obviously need more training as the cast was largely made up community theater volunteers. Nevertheless, for the most part, they believe in their characters’ goal of overcoming “forces burning in techno-political mind control,” a question that was posed on the publicity flyer, and sticks in your mind as the play unfolds. Special mention goes to Antoine Smith as the caged Kwame, Derrick Brock, as the Professor, and Bobby Galyan as a hippie rendered psychotic by the Spies, who seeks psychiatric help.

The play ends with the death of a significant protester caused by a “non-lethal” weapon, and a funeral. An apology is rendered while the Supercryptologist and his main man continue their work. The rest of the PPs vow to continue the fight, and Robin Smith sings a soulful interpretation of author Margaret Klim’s song about truth.

The play could use tightening as it suffers from repetitious dialogue in some areas. Also,the day I went, the wait between scene changes were overlong, one was over two minutes where we sat through a looped tape of the theme from “The Twilight Zone.”

That said, don’t miss the final performance of “Bird Catcher” this Friday, October 30, at & PM. Berkeley Repertory Theatre, 3201 Adeline, Berkeley, CA. BART, Ashby Station, AC Transit, street parking. $21.75 to $12.00. Ticket information at 877-725-8849 or www.ticketalternative.com.



(Disclaimer: The day I attended, the two-hour plus show started almost a half-hour late. I regretted having to leave shortly after intermission as I had to get back to San Francisco.)