Theater Reviews: Hamlet, Razorback, The Most Mediocre Story Never Told

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More About

• Steven Leigh Morris
• Michael Michetti
• David Henry Hwang
• Theatrical Plays
• Theater

 
RAZORBACK John Pollono’s “pitch-dark comedy” — set in a rustic Maine cabin – is packed with terrific roles. The roles may be richer than the play’s essential qualities. These qualities start from those in any family drama by Sam Shepard, mingled with the comedy of idiot-thugs pitched against ineffectual poet-philosophers found in Harold Pinter’s early plays, and Quentin Tarantino’ film Pulp Fiction. Pollono is a good writer, but with 30 new plays per week opening in L.A. alone, one asks for aspects of originality and theatricality in a new work rather than those of indie-film derivation, which prevail here. Dean (Richard Fancy) is an aging ex-thug with a few months to live, condemned by what appears to be colon cancer. Fancy plays him defined by brute dominance and machismo yet with clearly elucidated soft spots for his second wife, Sandy (Suzanne Ford, in a nicely textured performance), and their intellectually precocious “son,” DJ (Edward Tournier). Dean’s boozy ex, Ruth (Laura Gardner), arrives in a blather of intoxication, along with the tattooed, bloodied adult son, Rocco (the excellent Jack Maxwell). Turns out Rocco is on the run, and if we never met whom he’s running from, or understood why, there wouldn’t be an Act 2. The character study of Act 1 yields to the hostage drama of Act 2. Large weapons get brandished, family secrets get unleashed, there are jokes about the overwrought violence in which the play indulges, like the fantasy of a gangster comedy to star Robert DeNiro and Chris Rock. In their stead, we get terrific portrayals by Rob Bottitta and Patrick Flanagan as the Mafia up from the city. And though the play’s ultimate worldview can be found in innumerable DVDs arriving in the mail from Netflix, this is still a good workout for the actors, the writer and for director Elina De Santos, who shapes the action as seamlessly as she can. Stephen Gifford’s realistic set is also effective, under Leigh Allen’s lights. Theatre/Theater, 5041 Pico Blvd., L.A.; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; through Nov. 2 (323) 960-7726. (Steven Leigh Morris)

 
GO  THIS BEAUTIFUL CITY A musical docudramatic look at American life, faith and the rise and fall of Ted Haggard in Colorado Springs, Colorado. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; Tues.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 1 & 6:30 p.m.; through Oct. 26. (213) 628-2772. Presented by Center Theatre Group, Los Angeles, and the Vineyard Theatre, New York City. See Theater Feature.