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Theater Reviews 

Satisfy Me, Rhinoceros, Jersey Boys and more

Monday, Jun 4 2007
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BITCH Susan Rubin’s dark comedy abandons logic, probability and common sense to provide a zany roller-coaster ride combining voodoo, kinky sex, weapons of mass destruction, sibling rivalry and Washington intrigues. Katherine (Bhama Roget) and her brother Dick (Nick Mennell), hostile partners in a Manhattan public-relations firm, take on a mysterious client named Claire Toussaint (Portia Realer) — an exotic black woman who seems to be accompanied by invisible drummers. Claire’s peddling a “nonlethal war-avoidance serum,” which she claims will put an end to warfare. Workaholic Katherine runs the firm and carries on an affair with Dodi Kalfayan (Ismail Bashey), representative of an unidentified Arab state, while hedonistic Dick pursues a torrid, sadistic affair with the giddy receptionist (Mara Marini). In order to sell the serum to the U.S. government, Katherine allows herself to be seduced by a lesbian senator (Liz Davies). When things spin wildly out of control, it takes an intervention by the spirit of voodoo queen Marie Leveau to sort things out. Director Mark Bringelson’s slick and speedy production mingles frantic action, video, nudity and simulated sex on Desma Murphy’s handsome and flexible set, while Roget, Mennell and Marini lend unlikely conviction to wildly giddy characters. Indecent Exposure Theater Company at BOOTLEG, 2220 Beverly Blvd., L.A.; Thurs.-Sat., 8 p.m.; thru July 7. (213) 389-3856. (Neal Weaver)

CALIGULA To philosopher and playwright Albert Camus, debauched emperor Caligula (a wonderfully nasal and arch Jeremy Guskin) wasn’t a madman but an existentialist. The death of his beloved sister Drusilla exposed life as trivial — a cynicism he meant to pass on to his disloyal subjects by murdering and raping their families, and rubbing their noses in it. In the smart but tedious speeches that form Camus’ stiff play (in Chris Covics’ dry staging, there’s not even a bare breast to be seen), Caligula comes across as a brilliant Enron exec: greedy to own the moon and masterful with cruel logic. (On stealing openly from the populace, he argues it’s no worse than taxing vital necessities.) The cowed Romans are too busy whining about the moral breakdown of society to pull a rebellion together. And while the political parallels are alive, the airless scenes aren’t. Covics can’t rouse the rest of the ensemble to more anger than a break room of disgruntled employees. Still, Guskin’s playful performance shows why Camus — who rejected existentialism — remained fascinated with the despot: You hate him, but at least he dared to think for himself. UNKNOWN THEATER, 1110 N. Seward St., Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 6 p.m.; thru June 30. (323) 466-7781 or www.unknowntheater.com. (Amy Nicholson)

HAMLET Hamish Linklater brings a rueful sincerity to his portrayal of the not-so-great Dane. Linklater’s slender frame and studied grace of movement lend a suave, charismatic understatement. It’s a beautifully spoken performance that hovers between the truth that emanates from one’s bones, and affect, as in Hamlet’s occasional, rare bursts of jollity. Director Daniel Sullivan frames the action with Bruegel the Elder’s Dulle Griet painted onto a scenic backdrop. This hints at the play’s pre-Elizabethan origins, and at this production’s promise to show the relentless, almost ghoulish transformations of mortals into ghosts in the cellar, as lunacy and death pick off the characters one by one. Hamlet hears the call of the Underworld from the get-go, which is why he’s so out of joint with life (and its artifices), until the entire world he occupies slowly catches up to his dour appraisals. Unfortunately, this promise in Ralph Funicello’s portrait-of-the-damned set remains largely unfulfilled in the production itself, which is more generic than striking — notwithstanding Dakin Matthews’ sparklingly clear and funny windbag Polonius, and perfectly serviceable portrayals by Linda Gehringer and Robert Foxworth as Gertrude and Claudius. Brooke Bloom was doing just fine — tender, smart and intriguing — until her Ophelia went mad and drowned in a river of clichés. And some of the supporting actors offered no support at all. But the promise of what this all could have been still lingers, and you can’t go wrong even just listening to this play. SOUTH COAST REPERTORY, 655 Town Center Drive, Costa Mesa; Tues.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 2:30 & 7:30 p.m.; thru July 1. (714) 708-5555 or www.southcoastrepertory.com. (Steven Leigh Morris) See Stage feature next week.

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PICK THE [INSIDE] PERFORMANCES With 95 percent of theater in Los Angeles created and attended by Caucasians — now a statistical minority of the city’s population — the Ford Theatre is among a number of arts institutions feeling the pinch, so to speak. The latest in a decades-long sequence of efforts to reach across the ethnic divide, this performance/comedy/spoken-word series promoting Latino/Asian/Pacific Islander artists consists mostly of Saturday afternoon readings, with complimentary wine provided by Bodega de Cordova wine bar, live music and talk-back sessions. The one variation from the Saturday-afternoon schedule is Sunday, June 10, when Prince Gomolvilas and Brandon Patton present their “storytelling, song-singing, bingo-playing” comic performance, Jukebox Stories. Later in the month are works by Luis J. Rodriguez (Notes of a Bald Critic,poems and vignettes concerning recovery from drinking and drug abuse), Melinda Corazon Foley (Second Chances, about “regaining what was lost”)and Michael John Garcés’ play Customs, about a journalist returning to a violent country. July features works by Guillermo Gómez-Peña, Walter Wong and Augusto Federico Amador. August closes the series with comedy troupes, Chicano Secret Service and Opening People’s Minds, and playwrights Oliver Mayer and Philip W. Chung. [Inside] the Ford, 2580 Cahuenga Blvd. East, Hlywd.; Sat., 1 p.m.; Sun., June 10, 1 p.m.; thru Aug. 25. (323) 461-3673. For complete schedule, visit www.fordtheatres.org/en/events/theatre.asp.  (Steven Leigh Morris)

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