Theater Reviews: Eclipsed, Naked Boys Singing, Scarecrow, Underground Woman

Also, The Mystery of Irma Vep, Shining City, Gogol Project and more

Comments (0) By L.A. Weekly Theater Critics Monday, Sep 28 2009

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Ed Krieger

Shining City

Courtesy of Deconstructed Productions

The Mystery of Irma Vep

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GO THE SOMETHING — NOTHING An excessively late start, covered by pounding, annoying club music led this reviewer to notice only the flaws in the first part of this outing — but Fielding Edlow’s smart script and the fine acting eventually prevailed. Three solipsistic New Yorkers nearing 30 pride themselves on their cynical worldliness while simultaneously hiding their desperate loneliness and fear of intimacy. Liza (Annika Marks) awkwardly uses the most complicated words in conversation, which is ironically laced with the youthful crutch of “like” several times per sentence. She persists in trying to keep up with those she secretly believes are her intellectual superiors. She is alternately adored and scorned by her near-psychotic lesbian roommate Luna (a delightfully grotesque performance by Robyn Cohen) as well as by her love interest, a narcissistic would-be writer (played with sexual zeal and emotional vacancy by Michael Rubenstone). The three characters spiral down into self-pity, lifted occasionally by some moments of genuine human contact — generally shut down by the receiving party. Edlow’s dialogue bounces between razor-sharp and languid, creating a weird uneasiness. She ends the second act with a character shouting, “This is not a Neil LaBute play” — a remarkable insight, as the play does feel like a female response to LaBute’s constant woman-baiting. Director Kiff Scholl smartly allows his hand to disappear, giving over the storytelling to the richly textured, sad characters. Lounge Theatre, 6201 Santa Monica Blvd., Hlywd.; Thurs.-Sat., 8 p.m.; (323) 960-7721. (Tom Provenzano)

UNDERGROUND WOMAN Very loosely based on Fyodor Dostoevsky’s Notes from Underground, Victoria E. Thompson’s dark comedy focuses on a cynical woman who just wants to be left alone. Thompson performs as Delia Donovan, a woman who desires only to drink herself to death. Her dysfunctional family has other plans, however. Led by therapist Elise Rosen (Maaren Edvard), her family stages an intervention. Self-mutilating daughter Rachel (Maegan McConnell) can barely hide her resentment as she tells her mother she loves her. Newly sober son David (Chris Kerrigan) is illiterate, unable to read the letter penned by the therapist to his mother. Bitter adult sister Harriet (Hilarie Thompson) resurrects old grudges and blames her older sister for her not becoming a cheerleader in high school. Delia’s husband, Don (James Loren), writes a convincing enough intervention love letter — until it’s revealed that he’s having an affair with the therapist. Director Anita Khanzadian elicits superior performances from Thompson and Edvard, but some of the supporting players are a bit overblown, bordering on shrill. Two exceptions: Adam Sherman does an excellent job as Delia’s equally cynical nephew, and director Khanzadian is fine as Delia’s mother. Victoria Profitt’s homey set adds to the persuasiveness of the play. The Michael Chekhov Studio in association with Theatre Unlimited, 10943 Camarillo Ave., N.Hlywd.; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; through October 18. (818) 238-0501. (Sandra Ross)