Theater Reviews: Hillary Agonistes, Of Mice and Men, Flora the Red Menace

Also Indecent Acts, I'd Rather Be Right and more

Comments (0) By L.A. Weekly Theater Critics Monday, May 12 2008

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Michael Lamont

Flora the Red Menace

Craig Schwartz

Of Mice and Men

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OF MICE AND MEN With decidedly mixed results, and with D. Martyn Bookwalter’s atmospherically bleak scenic design, director Paul Lazarus has re-set John Steinbeck’s classic around the Bracero Treaty of WWII. Both George (David Noroña) and his developmentally disabled friend, Lennie (Al Espinosa), carry work permits, but little else is mentioned about the massive importation of Mexican field labor, and, despite a mainly Latino cast, most of the cultural flavor is limited to expressions like dios mio and the occasional pendejo. As with Steinbeck’s novel, the Latino field hands are just as racist as their white counterparts toward Crooks (Curtis C.), the black stable hand. And when not reciting their plan to buy a small farm where Lennie can pet the rabbits, George warns Lennie to stay away from Curley (Joshua Bitton) — and, more importantly, away from Curley’s wife (Madison Dunaway in a wan, unconvincing performance). Espinosa is excellent as Lennie, whose merest hand gestures are compelling. Also, Alex Mendoza makes a strong impression as Slim, and the standouts among the supporting cast include Thomas Kopache in a heartbreaking performance as Candy, and Curtis C.’s Crooks, who embodies the thematic loneliness of the original source material. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena; Tues.-Fri. 8 p.m.; Sat., 4 & 8 p.m.; Sun., 2 & 7 p.m. (no 8 p.m. perfs May 21 and May 28; additional mat Wed., May 28, 2 p.m.); thru June 8. (Sandra Ross)

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SAINT JOAN Director Matthew Kellen Burgos’ staging of George Bernard Shaw’s powerful opus is a worthy if workmanlike production focusing on Shaw’s debates on topics as diverse as class, nationalism and gender equality. This often comes at the cost of the play’s delicate layers of wit and irony, which frequently seem, well, “shaved” off. In 15th-century France, Joan (Dawn Davis), a farmer’s simple daughter, hears saintly voices in her head, and she follows their advice, convincing the local feudal lord (Sam R. Ross) to allow her to command an army that restores the mousy Dauphin (Tom Fornss) to his throne. However, the church disapproves of Joan’s independence — and she finds herself being tried for heresy by a sanctimonious cleric (Joseph A. Cincotti, nicely stentorian), who tries to make her the main dish on the rotisserie, served medium rare. Some productions of Shaw have a tendency to drone, but Burgos keeps things simmering along with urgent intensity. If there’s a weakness, it’s that too many members of the ensemble favor a bawling, declamatory acting style that tilts toward the robotic. Although Davis’ Joan is sometimes overly perky, making her more Starbucks barista than Maid of Orleans, her increasing bewilderment and desperation are haunting. Met Theatre, 1089 N. Oxford Ave., Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; thru May 25. (323) 960-4424. An Emergence Theatre Company production. (Paul Birchall)