GO MRS. WARREN’S PROFESSION Banned and reviled, George Bernard Shaw’s 1893 satire about a modern Victorian girl, Vivie (Joanna Strapp), who discovers that her estranged mother, Kitty (Gillian Doyle), is a wealthy whore, was so controversial that Shaw prefaced it with a 10,000 word “apology” in which he excoriated his critics as hypocritical sops. Mathematician Vivie is aghast that her youthful independence, her college degree and preference for cigars over romance were funded by mom’s round heels. What’s bold then and now goes beyond Kitty’s convincing defense of her profession (she’s a businesswoman, not a victim) and the intimations of incest when Vivie realizes her suitor’s father (Barry Saltzman), now a clergyman, was one of her mother’s clients. The immorality at stake isn’t carnal but capitalistic: Vivie concludes that brothel-working is fine but brothel-owning is vile. That Shaw’s scorching four-act play, by proxy, attacks everything from the glass ceiling to Nike shoes means its relevance has only increased in over a century. Something’s slightly off in director August Viverito’s pacing as jokes that deserve guffaws score only wry smirks. In a strong ensemble, Doyle is outstanding as an alpha female coquette overloaded with pride, vulnerability and jewels; and as Vivie’s two would-be husbands, Jeremy Lelliott, in a callously foppish take, and Skip Pipo, with his crass, tycoonish portrayal, are hilarious while they underscore Shaw’s insinuation that Jane Austen’s well-married girls are the true prostitutes. Chandler Studio Theater Center, 12443 Chandler Blvd., N. Hlywd; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Aug. 24. (no perf. Aug. 22). (800) 838-3006. A Production Company production. (Amy Nicholson)
GO SUDDENLY LAST SUMMER When Tennessee Williams wrote this play in 1958, prefrontal lobotomy was largely discredited, but it remained a hot issue for Williams. His beloved sister Rose had been subjected to the process by their mother, Miss Edwina, supposedly because Rose had apparently claimed sexual molestation at the hands of her father. Williams converted family history into a parallel tale of Violet Venable (Kim Miyori), whose perverse son Sebastian has suffered a hideous death, as reported by Violet’s niece, Catherine (Elaine Kao). Catherine’s account belies Venable’s most cherished illusions about her “chaste” son, so she seeks to have Dr. Cukrowicz (Leonard Wu) lobotomize Catherine to “cut that hideous story out of her head.” It was sensational stuff in 1958, and it remains disturbing, even when told, Williams-style, largely in lyrical monologues. Though it’s initially disconcerting to see an Asian cast speaking in Southern drawls, as director Chil Kong suggests, the play reflects Chinese and Korean preoccupation with saving face and honoring the dead. Also refreshing is to see Catherine played by an actress who’s authentically young and vulnerable, and then there’s Miyori’s meticulous performance. Despite some awkward staging, this emerges as a serviceable, at times brilliant production. Lodestone Theatre Ensemble, 1111-B West Olive Ave., Burbank; Fri.-Sat., 8 p.m., Sun., 2 p.m., thru Aug. 24. (323) 993-7245 or www.lodestonetheatre.org. (Neal Weaver)
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TURPENTINE JAKE Set in the Florida Turpentine camps of the 1930s, this gritty tale of black workers under the “debt peonage” system is dramatized by the grandson of one of these workers, James E. Hurd Jr. (who also directs and stars), and Linda Bannister. The action centers on an accidental stabbing one night over a card game, fueling racial tensions as well as the escape plan of Jake (Hurd Jr.), who concocts a scheme with the Woods Witch (Carlin Smith), a nebulous figure who lives in the pine forest and deals in the occult (reminiscent of Bynum from August Wilson’s Joe Turner’s Come and Gone). Despite the rich source material, the play starts from a traditional dramatic premise before dissolving into a a series of vignettes which, their poetry and humor aside, put the brakes on what should be a riveting and dangerous story. Hurd Jr. and co-director Jim Holmes also shoulder some blame, as they don’t always push the talented cast into the uncomfortable emotional territory the subject demands. On the other hand, the scenic design (complete with Spanish moss and sawdust), along with the costumes and the props, is well crafted and transports us to the rustic South. Similarly, work songs interwoven into the plot add texture to the fabric of the story. Though the intentions of the creators are admirable and the story needs to be told, a rewrite could turn this meditation on injustice and folk wisdom into a piece that truly sings. Del Rey Theatre at Loyola Marymount University, 1 LMU Dr., North Hall 102, W.L.A.; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Aug. 24. (310) 338-7588. A Kohl Players production. (Mayank Keshaviah)
