Theater Reviews

Comments (0) By L.A. Weekly Theater Critics Wednesday, Jun 14 2006

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Photo by Paul Rubenstein

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GO THE TINA DANCE As a locus for innovative and often controversial performances, Highways doesn’t disappoint with Michael Kearns’ latest offering, a collectively written docudrama about the crystal methamphetamine crisis that focuses on true-to-life stories from the gay community. Declaring, “Crystal meth is officially out of the closet,” the “actors” in the piece play themselves (with a couple of exceptions) and detail their own dances with “tina” in a half-celebratory, half-revelatory style. While some of the darker, more serious vignettes are powerful, the piece shines most brightly in its comedic moments that are often more incisive, despite the laughter and farce. The climax of this style is in the personification of Tina (Ian MacKinnon), the “bitch goddess” who makes “Hurricane Katrina look like Mother Teresa.” MacKinnon, in a snakeskin dress with high heels, argyle socks, jelly bracelets and a teased blond wig interlaced with hypodermic needles and test tubes, often steals the show with his (her?) outrageous personality. Kearns’ direction emphasizes the communal aspect of the piece, and the entire cast gives strong performances. Particular standouts include Corey Saucier and Chris Rodriguez. The piece seems cathartic for both the performers and the audience in true “heal as you reveal” style. Highways East at Plummer Park, 7377 Santa Monica Blvd., W. Hlywd.; Fri.-Sat., June 16 & 17, 8 p.m.; then at Space at Fountain’s End, 3929 Fountain Ave., Silver Lake; Sun., June 25, 4 p.m. (323) 856-6168. (Mayank Keshaviah)WITHOUT WALLS While chronicling the initial hostility and growing attraction between a despondent and arrogant high school student (Matt Lanter) and his gay theater teacher (Laurence Fishburne) in 1975, Alfred Uhry’s 2002 play ultimately serves to inoculate the audience against the troubling emotions it arouses. Just when it’s about to delve into the murky terrain of power abuse, molestation and earth-shattering loneliness, it pulls back to the palatable position of noble characters punished by a misunderstanding world, so that the play postures as being about something it’s not. Fishburne prances through the role of the teacher, Morocco Hemphill, with a vivacious charisma that floats on muted sarcasm, subtle effeminacy, stock gay flamboyance and some very funny speeches. In the public “production announcement” for the high school, Morocco outlines the reasons for vetoing Oh Calcutta! and The Crucible (Arthur Miller felt there were too many productions in New York, Morocco intones mockingly) before declaring with a tone of quivering excitement his plans to direct The Prime of Miss Jean Brodie — a drama that comments on the plight of the men. Christopher Ashley directs a spit-and-polished production that foreshadows the looming crisis with small gestures of physical intimacy between the teacher and the male student. With sweet reserve and steely resolve, Amanda MacDonald plays a female student who is attracted to her peer, and whose offstage father (on the school’s board of directors) echoes the blindly judgmental parents in Lillian Hellman’s The Children's Hour. The story unfolds with such ease while asking so little of us, it makes us wonder why we’re not watching it on TV. Mark Taper Forum, 135 N. Grand Ave., dwntwn.; Tues.-Fri., 8 p.m.; Sat., 2:30 & 8 p.m.; Sun., 2:30 & 7:30 p.m.; thru July 16. (213) 628-2772. (Steven Leigh Morris)