Theater Reviews: 2 Pianos 4 Hands, Coming Home, Cirque Berzerk

Michael Lamont

2 PIANOS 4 HANDS

Andrew Young

Cabaret the Musical

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More About

• Joe Vaclav
• Aristophanes
• Roy Abramsohn
• Jeffrey Rockwell
• Fraulein Kost

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GO  THE WASPS With its amiably hammy seven-person ensemble of mostly veteran character actors who prance around caparisoned in codpieces with Slinkys attached, this high-spirited rendition of the classic Greek comedy proves that Aristophanes and shtick go together like, well, Aristophanes and shtick. Adaptor-director Meryl Friedman’s earlier staging of this production was created to commemorate the opening of the new Getty Villa auditorium. It ran four performances there but has now been moved to this new, much smaller venue on La Brea Avenue, with all its brisk silliness intact. Aristophanes’ play is a barbed satire of the 5th century BC Athenian tradition of paying retirees for serving on a jury. As such, it is perhaps unsurprising that Friedman’s take on the material drifts from the political elements, opting instead to meander into delightfully dippy gags and cheerful musical numbers. While digressive, these theatrical sojourns turn out to be oddly faithful to the tone and mood of the original comedy. There are fart jokes, drunken revelry and, for the finale, there’s a trial in which an old man (Peter Van Norden) adjudicates a case involving a dog (Robert Alan Beuth, in wacky dog-drag). As the elderly Athenian fool, Van Norden possesses a Zero Mostel–like comic gravitas, which he uses to comedic advantage in his perfectly timed, bug-eyed, joyously leering turn. Albert Meijer, as the old man’s uptight and pompous son, mugs off him brilliantly. David O’s orchestration of Friedman’s jitterbuglike musical numbers is delightful — and his sound effects, as though from a radio play, mesh perfectly with the sweet and joyful testament to Classical Greek geek chic. The Lost Studio, 130 S. La Brea Ave, Los Angeles; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through July 26. (800) 838-3006. Stinger Productions. (Paul Birchall)