Theater Reviews: It Ain't All Confetti, Tracers, Road to Saigon

Also, Crimes of the Heart, The Maids, Skylight and more

Comments (0) By L.A. Weekly Theater Critics Thursday, Jun 3 2010

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THE MAIDS French poet, playwright, novelist and thief Jean Genet, dubbed a criminal/saint by Jean-Paul Sartre, was an eternal outsider who embraced themes of oppression, betrayal, transgression and opposition to accepted social values. Here, he tells the bizarre tale of two sisters, Solange (Rachel Kanouse) and Claire (Nicole Erb) who are employed by Madame (Meagan English) as maid/servants. Corroded with self-loathing, they bitterly resent their menial existence, and become enmeshed in an intense love/hate relationship with each other and with their employer, whom they hate, envy, adore and fantasize about murdering. They have already, via an anonymous letter, sent Madame's lover to jail, and whenever she is out, they act out sadistic fantasies of murder and rebellion. Inevitably the end-game is lethal. Director Armina LaManna begins the piece with Edith Piaf recordings and a choreographic interlude that establishes the perverse erotic bond between the sisters. The actors skillfully and meticulously navigate the shoals of shifting fantasy and reality. J.C. Gafford provides a handsomely baroque set, all red velvet, flowers and ornate porcelain. Rachel Sachar's costumes cleverly dress the sisters in positive and negative variations on the same uniform. However, Genet is so subjective and personal that there are no apertures the mind can slip in through. The Eclectic Company Theatre, 5312 Laurel Canyon Blvd., Valley Village; Fri.-Sat., 8 p.m., Sun., 7 p.m., Thursdays June 17 & 24, 8 p.m., through June 27. (818) 508-3003, eclecticcompanytheatre.org. (Neal Weaver)

GO ROAD TO SAIGON You don't need to be a devotee of theater lore to enjoy director Jon Lawrence Rivera's assemblage of show tunes, pop standards and showbiz anecdotes. (But it helps.) You don't even need to be familiar with songs from the blockbuster musical Miss Saigon, the source of the evening's theme and reminiscences. (Because none are present.) All you need is an appreciation of big talents, and Rivera has gathered three of the biggest. Besides being Filipino-American actresses, Joan Almedilla, Jennifer Paz and Jenni Selma all cut their musical-theater teeth playing Miss Saigon's tragic heroine, Kim, on Broadway or in a national touring company. Their memories of winning the coveted role become the "book" for what Rivera clearly hoped would have the appeal of a real-life A Chorus Line. And while the results feel more like a talky cabaret revue, what's not to like about a trio of powerhouse singers belting out beloved Broadway favorites under Nathan Wang's rousing musical direction (musical staging by Kay Cole). Almedilla's soulful covers of Billy Joel's "New York State of Mind" and Burt Bacharach and Hal David's "I Say a Little Prayer" are sensational; Paz proves her mettle on comedy numbers like "Here I Am" from Dirty Rotten Scoundrels, and "In Short," from the musical Edges; and Selma sizzles on inspirational anthems like "Don't Rain on My Parade" from Funny Girl, and Chaka Khan's "Through the Fire," as well as more wistful ballads like the Kelly Clarkson hit "Beautiful Disaster." East West Players at the David Henry Hwang Theater, 120 Judge John Aiso St., Little Tokyo; Wed.-Sat., 8 p.m.; Sun., 2 p.m.; through June 13. (213) 625-7000. (Bill Raden)

PHOTO COURTESY OF EL PORTAL THEATRE

It Aint All Confetti

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ROCKIN' WITH THE AGES II Considering the paucity of employment opportunities for older performers, it's not surprising that they should band together to create their own show, cast entirely with singers and dancers older than 70. Most performers are eager for love and approval, but when it becomes too obvious, as it does here, it gets embarrassing. They've put together a lively show, consisting largely of show tunes, plus a few evergreen standards like "Boogie Woogie Bugle Boy," performed by Susan Lacroix, Carmelita Pittman and Bobbi Stamm, and "The Tennessee Waltz," given a heartfelt rendition by Sue Smart. "Puttin' on the Ritz" is a lively tap-dance number, featuring the Razzmatappers and Dennis Wickham. Raffi Mauro provides a sweetly funny version of "Mr. Cellophane," and joins forces with Stamm and Hallie Richman in an antic "Two Ladies," from Cabaret. Big ensemble numbers include "Hey, Big Spender," "Money, Money" and a raunchy "Cell Block Tango." With such a huge cast, it's impossible to single out individual performers, but most are able and thoroughly professional. One wishes some younger performers could see them and be reminded that with a little old-fashioned projection, one can be heard loud and clear without relying on body microphones. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks; Fri.-Sat., 8 p.m., matinees Wed., Thurs., & Sun., 2 p.m. Produced by The Pink Lady and Senior Star Power Productions. (818) 606-6679, PinkLady7@earthlink.net. (Neal Weaver)

SKYLIGHT Along with his works Plenty and The Secret Rapture, David Hare's 1995 drama is one of his "Big Lady" plays, in which a strong-willed female protagonist is ultimately hoisted by the petard of her own glittering ideals. In this case, the woman in question is sensitive Kyra (Erin Shaver), who has broken up with her former restaurant tycoon lover, Tom (Stuart W. Howard), after his wife found out about their affair. Kyra, now punishing herself by living in a frosty flat in an unfashionable part of London, where she ekes out a living teaching inner-city schoolkids, is unexpectedly visited by Tom, who, now that his wife has died of cancer, is eager to rekindle their flame. The romantic sparks start to sputter, though, when the piece sidelines into a fiery debate about the principles and flaws of capitalism and liberalism, which, frankly, is Hare's real concern. It's possible that in a few weeks director Ken Meseroll's stodgy production of the seething drama will gel to reflect the play's subtle emotional shifts and nuances in a more involving way. At this point, though, Meseroll's staging is merely workmanlike, with flat line readings and stiff blocking, while also missing the psychological edge and layering implied by Hare's delicate, yet fiercely intelligent script. Shaver offers a likable, if emotionally restrained turn as Kyra, while Howard is nicely oily and pompous as Tom. However, it's hard to believe for a moment that the pair would have had an affair. In addition, the performers are often so hamstrung by their attempts to wrestle with the British dialect, you almost wish they had jettisoned it entirely. Set designer Joel Daavid crafts a beautifully detailed, warm, and intimate living room set, which nevertheless feels utterly at odds with the frigid description of the location in the play itself. Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; through June 20. (866) 811-4111. (Paul Birchall)