Theater Reviews: Our Town, The Crucible, Big

GO  BIG Director Richard Israel and his fine cast have a first-rate revival of this 1996 Broadway musical, based on the film that made Tom Hanks a star. And if you’ve seen the movie and think you know the story, think again: You can expect a few witty surprises here. Big (John Weidman, book; David Shire, music; Richard Maltby, lyrics) is a whimsical tale about Josh (L.J. Benet), an undersized teenager whose oversized crush on a schoolmate results in a startling metamorphosis when a carnival contraption grants his wish to be “big.” When he wakes up as an adult, Josh (Will Collyer) has his hands full coping with life, his best friend, Billy (Sterling Beaumon), and a heartbroken mom (Lisa Picotte). When he stumbles into a high-caliber job with a toy company, he catches the eye of corporate climber Susan (the outstanding Darrin Revitz) and finds romance, but he ultimately discovers that life as a 13-year-old adult is not all that great. Israel has done a remarkable job staging this piece on a small stage, and manages the large cast — which features some fine adolescent actors and actresses — quite well. Christine Lakin’s choreography is polished and attractive, with many of the dances evincing an edgy comic expressiveness. Musical director Daniel Thomas does equally fine work. El Centro Theatre, 800 N. El Centro Ave., Hlywd.; Fri.-Sat., 8 p.m., Sun., 3 p.m., through June 28. (323) 460-4443. A West Coast Ensemble production. (Lovell Estell III)

COURTING VAMPIRES Far from the traditional fare surrounding the fanged denizens of the dark, this world premiere from playwright Laura Schellhardt explores the mindscape of straight-laced Rill Archer (Carey Peters), a woman whose free-spirited younger sister Nina (Maya Lawson) becomes seduced by a vampire named Jim Slade (Bo Foxworth, who plays all of the males roles). Seeking justice and solace, Rill, dressed in robotic gray, retells the sequence of events that led to the seduction, skipping around in time and space while revealing the sisters’ relationships with each other, their father and Rill’s co-worker Gill. Set against Kurt Boetcher’s set design that resembles a giant file cabinet, and complemented by Tim Swiss’ lighting design, the scenes in the courtroom of Rill’s mind are by turns funny and gravely serious, exploring the characters’ fears, desires and inhibitions. Schellhardt is clearly accomplished, penning lines chock-full of witty lingual gymnastics and unique turns of phrase. Director Jessica Kubzansky sets the bar high as usual, ensuring that her actors navigate the complex rhythms of the text and carve out their characters in sharp relief. The cast members too are talented and faithfully trace the twists and turns of their characters, especially Foxworth, whose multiple roles are clearly defined. Unfortunately, the whole doesn’t end up equaling the sum of its parts, leaving the audience with numerous great moments that don’t fuse into a powerful or coherent story. Theatre @ Boston Court, 70 N. Mentor Ave., Pasadena; Thurs.-Sat., 8 p.m., Sun., 2 p.m., through June 7. (626) 683-6883. (Mayank Keshaviah)

CROWNS This musical by Regina Taylor examines the passionate attachment of certain churchgoing African-American women for their hats. Adapted from the book by Michael Cunningham and Craig Marberry, Crowns: Portraits of Black Women in Church Hats, it turns on the interaction between Yolanda (Angela Wildflower Polk), a tough street girl from Brooklyn raging with grief over the murder of her brother, and various women she encounters after she’s shipped off to South Carolina to live with her grandmother (Paula Kelly). The book that was the musical’s source material consists of an elegant collection of photo portraits and firsthand reminiscences; Taylor appropriates these as monologues, then juxtaposes them with original dialogue and gospel hymns. The thrust of the show — increasingly churchly as the evening wears on — is the effort to educate Yolanda regarding the importance of hats to her identity and her spirituality. Under Israel Hicks’ direction, the focus is clear but its execution — both script and performance — is disappointing. Five female performers each deliver various monologues that simply don’t add up to recognizable characters who serve the story — itself a cobbled construct. Lackluster choreography, less than top-notch vocals and indifferent lighting also detract, as does the production’s two-hour length, without intermission. The strongest element is the outstanding contribution of Clinton Derricks-Carroll in a variety of male roles, but especially as a fervently possessed, pulpit-thumping preacher. In an uneven ensemble, Vanessa Bell Calloway and Suzzanne Douglas are worthy of note, as are the instrumentals, under Eric Scott Reed’s musical direction. Nate Holden Performing Arts Center, 4718 W. Washington Blvd., L.A.; Thurs.-Fri., 8 p.m., Sat., 2 & 8 p.m., Sun., 3 p.m., through June 14. (323) 964-9768. An Ebony Repertory Theatre/Pasadena Playhouse production. (Deborah Klugman)

GO  THE CRUCIBLE In the days of HUAC and Senator Joseph McCarthy, when it was dangerous for any left-leaning writer to criticize government actions, playwright Arthur Miller approached the subject indirectly, writing about the Salem Witch Trials of 1692 as a metaphor for McCarthy’s reckless accusations. But as this illuminating production makes clear, the play remains eloquent and relevant, and director Marianne Savell gives it a sharp new focus. In addition to examining the plight of John and Elizabeth Proctor (Bruce Ladd and Nan McNamara), both accused of witchcraft, she highlights two of the accusers: The paranoid, egocentric, hysterical Reverend Parris (Daniel J. Roberts) is ultimately destroyed by the madness he has unleashed, while decent man of conscience Reverend Hale (Gary Clemmer) believes the charges of witchcraft until it’s too late to halt the madness. The witch-hunt, launched by a toxic brew of superstition, fear, lies, self-righteousness and individual malice, becomes an inexorable force, grinding up accusers and accused. Ladd and McNamara deftly capture the flawed but powerful integrity of John and Elizabeth, while Roberts and Clemmer subtly delineate the growing despair of the two clergymen. They are given strong support by a huge and able cast. Actors Co-op, 1760 N. Gower St., Hlywd.; Fri.-Sat., 8 p.m., Sun., 2:30 p.m., additional matinee Sat., May 16, 2:30 p.m., through June 7. (323) 462-8460. (Neal Weaver)