Theater Reviews: The Receptionist, Legally Blonde the Musical

THE IMPORTANCE OF BEING EARNEST Koni McCurdy gives a fierce performance as Lady Bracknell, under Patricia Wylie’s functional direction of Oscar Wilde’s comedy. Otherwise, the play is pretty limp. There were a number of stepped-on lines the night this critic attended. A bigger problem is Jason Perlman’s overly rapid delivery as Algernon — many of Wilde’s best lines are so rushed, the audience has no time to react. Brent Hamilton and Jessica Culaciati make a serviceable pair of lovers as Jack and Gwendolen. However, the accents are all over the place, particularly from Jessica Culaciati, who has difficulty pulling off the role of the well-bred Cecily — the object of Algernon’s affection. Wilde might be spinning in his grave, but the essential comedy is still amusing. The plot concerns two gentlemen who both call themselves Earnest, and a comedy of mistaken identities ensues. Osa Danam brings some charm as the befuddled governess, Miss Prism, but McCurdy’s performance deserves special praise because it offers a slightly vicious twist on Lady Bracknell. Jeri Deiotte’s costumes are fine, and Victoria Profitt’s practical set design eases the transitions between scenes. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre; Fri.-Sat., 8 p.m.; Sun., 2:30 p.m.; no perf Sun., Aug. 16; through Sept. 26. (626) 256-3809. (Sandra Ross)

INTIMATELY WILDE It’s easy to understand why dramatic artists might be attracted to the story of the brilliant and iconic Oscar Wilde. Unfortunately, writer-director Terra Taylor Knudson’s dramatization of the life and trials of this complex and tragic figure treads familiar territory, offering little fresh insight. The play begins in Wilde’s (Tom Thorn) prison cell before flashing back to accounts of his marriage, his meeting and subsequent affair with Alfred “Bosie” Douglas (Ryan Michael Hartman), and his series of trials, which culminated in his conviction for “gross indecency” and his sentencing to two years’ hard labor. A stilted rendering of events, the script never delves beneath the surface by attempting, for example, to explore the complicated mysteries of sexual attraction, or probing the anguish Wilde’s wife (Knudson) must have undergone, first from her husband’s physical rejection and later from the disgrace brought on by the trial. The production’s main problem, however, is Thorn’s performance, which is constrained by the image of Wilde as a dandy with a disdain for convention. That he was, but Thorn’s too glib mannerisms fail to do justice to the scope of Wilde’s intellect and compassion. Hartman occasionally livens things up, with the antics of the spoiled Bosie, and Tom Polzin is effective as the implacably doltish marquess of Queensberry. Lyric Theatre, 520 North La Brea Ave., Hollywood; Thurs-Sat. 8 p.m.; Sun., 2 p.m.; through Sept. 13. (323) 939-9220. An Olio Theatre Works production. (Deborah Klugman)

GO  LEGALLY BLONDE THE MUSICAL I’ll admit it. I’m a bald, mustachioed, macho man who enjoyed this saccharine sweet, feel-good girly-girl musical. I even found some of it amusing. A lot of the credit goes to the infectious charm and stellar performance of Becky Gulsvig in the role of Elle Woods, the blonde California sorority girl who follows her ex-beau Warner (Jeff McLean) to Harvard Law School to win him back. When it’s all over, Elle has faced off with shark-attorneys, made a host of interesting friends, played matchmaker, found true love with Emmett (D.B.Bonds) and learned something about life, love and the value of being true to one’s self. The book for this stage adaptation of the popular 2001 movie is by Heather Hach, and is vigorously choreographed and directed by Jerry Mitchell (La Cage Aux Folles and Hairspray). Laurence O’Keefe and Nell Benjamin’s music and lyrics are not memorable, being as as sugary-sweet as the story itself. David Rockwell’s grand, pink-themed sets are stunning, even a bit overwhelming at times, and the same can be said of the collage of blinding colors in Gregg Barnes’ costume design. Yet the show is such a guilty pleasure, I’m going back with my daughter. Pantages Theater, 6233 Hollywood Blvd., Tue.-Fri., 8 p.m., Sat. 2 & 8 p.m., Sun., 1 & 6:30 p.m., through Sept. 6. (800) 982-2787. A Broadway L.A. production. (Lovell Estell III)

OUTSIDE OF THE BOX There’s a Judy Garland and Mickey Rooney vibe to this talent showcase for a school of circus acts. Each shows off its best stunt: Two men (William Smith and Eric Yu) dress like bunnies and kung-fu fight; a contortionist (Hannah Finn) outfitted like a mall-dwelling punk teen bends herself into a pretzel over angry poetry; a dancer (Dana Dugan) in a wet slip presses water prints against the floor. Between acts, the mute stagehand (Scott Renkes) clowns around and discovers a prop that serves as a harbinger of the next routine, as the two-person Kleinkunst Kabarett (accordionist Ari DeSano and singer Morgan Lariah) wheeze musical accompaniment. Director Stephanie Abrams, who also mimes a comedic suicide routine, could stand to get more energy from her performers: They move capably but tentatively through their routines — their movements need the confident snap of a circus that knows it’ll wow ’em. Burlesque dancer Christina Aimerito brandishes her fire batons with a solid amount of sass, but it’s dancer Onamare, who slides in wearing a sexy hajib, garters, bondage ropes and 2-foot-long flaming rings, to burn down the house. Kinetic Theory Experimental Theatre and The Attic Theatre and Film Center, 5429 W. Washington Blvd., L.A.; Fri.-Sat., 8 p.m.; through Aug. 29. (323) 525-0661. (Amy Nicholson)