Theater Reviews: The Receptionist, Legally Blonde the Musical

THE RECEPTIONIST If there is a premise behind playwright Adam Bock’s superficial political satire, it might be the notion that even Adolf Eichmann had a beloved mother, and, no doubt, an efficient receptionist, too. It is in the latter’s domain of a generic, office waiting room (in Chris Covics’ appropriately bland-moderne set) that Bock places his comic cautionary study in the mindless, bureaucratic surrender of moral judgment to the dictates of duty — what Hannah Arendt meant by “the banality of evil.” And there are few duties more banal than Beverly Wilkins’ (Megan Mullally of NBC’s Will & Grace). Holding down the front desk of the innocuous-sounding “Northeast Office,” the veteran employee sorts the mail, makes the coffee and screens the incoming calls for her harried boss, Mr. Raymond (Jeff Perry) — at least when she isn’t gossiping on the phone or giving relationship advice to Mr. Raymond’s flighty, love-hungry assistant, Lorraine (Jennifer Finnigan). It is only with the surprise visit of the Central Office’s affable Martin Dart (Chris L. McKenna) and Mr. Raymond’s inexplicable absence that Beverly’s comfortable routine begins to unravel and the horrific nature of the Northeast Office’s “services” is finally brought to light. Though Mullally nails the officious manner and mercurial pettiness of the practiced office functionary, Bart DeLorenzo’s detail-mired direction ultimately proves unable to bridge the miscalculated disconnect between Bock’s cobweb-thin characterizations and the discordant heft of his message. Odyssey Theatre, 2055 S. Sepulveda Blvd., W.L.A.; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; through Sept. 20. (310) 477-2055. An Evidence Room and Odyssey Theatre Ensemble production. (Bill Raden)

TWELFTH NIGHT OR WHAT YOU WILL Director Armin Shimerman’s genial, unevenly paced production of Shakespeare’s romantic comedy boasts cross-dressing, as well as crossed garters. Nobleman Orsino (John D. Crawford) loves noblewoman Olivia (a nicely shrill Victoria Hoffman), but she only has eyes for Orsino’s servant, who just happens to be the shipwrecked beauty Viola (Julie Alexander) in disguise. A complication (which can be traced all the way back to Plautus if you try) ensues when Viola’s twin brother, Sebastian (Michael Yurchak), arrives in the kingdom and is mistaken for his sister — er, brother. Shimerman’s production is staged in a building courtyard in West Hollywood’s Plummer Park, and the locale lends a playful, upbeat atmosphere. A few production elements border on being merely workmanlike, including some functional-at-best acting turns and bouts of stiff blocking that never tuck into the piece’s humor. However, the show is punctuated by a few colorful gags — the foolish trio of Michael Matthys’ boorish Sir Toby, Barry Saltzman’s hilariously foppy Aguecheek, and Will Badgett’s sourpuss Feste catawalling love songs on Olivia’s doorstep, for instance, or Stephen Moramarco’s thoroughly prickly Malvolio attempting to woo his mistress, a hilariously uptight turn channeling what appears to be 100 generations of night-shift accountants. Although pacing problems inevitably slow some portions of the show, this is a fine, intimate introduction to this coruscating comedy, perhaps best for those not overly familiar with it. Classical Theatre Lab, Plummer Park, 7336 Santa Monica Blvd., West Hollywood; Sat.-Sun., 5 p.m.; through August 23. Free. (323) 960-5691. (Paul Birchall)