Theater Reviews: The Rendezvous, Nano Nation, Brooklyn, U.S.A.

Also, Procreation, Phil the Void: The Great Brain Robbery and more

Comments (0) By L.A. Weekly Theater Critics Thursday, Jul 22 2010

GO BROOKLYN, U.S.A. This crime melodrama by John Bright and Asa Bordages, who wrote many of the classic Warner Bros. gangster flicks, was first produced on Broadway in 1941. Today, it seems like a time capsule of Brooklyn, and of America in the 1940s, and this feeling is further enhanced by the wonderful period props. True to its time, the play has a huge cast and a leisurely pace as it tells the tale of a mob led by Albert Anastasia (Johnny Crear). But the action centers on hired killer Smiley Manone (Rico Simonini, looking startlingly like a young Jimmy Smits), his naive hooker girlfriend (Danitha Bockoven), who explains plaintively, "I'm not a hustler, I'm a lady of joy." Shelly Kurtz is impressive as Louie, a Jewish barber who's lured into the mob action by Anastasia's promise to get his parents out of Nazi Germany. Elisabeth Noone scores as the tough, bighearted proprietress of the neighborhood candy store. There's fine support from a large cast, including Johnny Williams as a portly hit man, Will Beinbrink as a union organizer murdered by the mob, and Adriana Demeo as his girlfriend. Director T.J. Castronovo evokes the style of the old gangster films, and meticulously preserves the period flavor, assisted by Thomas Brown's detailed sets and Sherry Coon's costumes. Write Act Repertory, 6128 Yucca Ave., Hlywd.; Thurs.-Sat., 8 p.m., through July 31. (323) 469-3113. (Neal Weaver)

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CIRCLE OF WILL William Shakespeare wrote his greatest works before 1608 — so what was he ruminating on in 1610? Directed by Brian Herskowitz, writers Bill Cakmis and Jack Grapes' scenario imagines a contentious exchange between the Bard (Grapes) and his friend and leading man, Richard Burbage (Joe Briggs). A stumbling attempt at satire, the piece portrays Shakespeare as a lesser literary light and Burbage as a cretinous narcissist, fed up with dramas about death and threatening to walk unless he gets to be a hero in a play with a positive ending. The problem lies not in the lampoon of the theater but in the script itself, which strives for laughs by utilizing misquotes and scrambled references to various Shakespearean plays and characters. Done well, this device would work brilliantly; here, lacking conceptual underpinnings and continuity, it falls flat. Midway through, the actors acknowledge they're on stage and break the fourth wall, appealing to the audience to help resolve their existential dilemma and hasten the comedy to a conclusion. At that point (if not before) shades of Shakespeare for Middle School begin to infiltrate the evening. As to the performances, Grapes is likable, while Briggs' evident gift for larger-than-life burlesque deserves better material. Designers Martin C. Vallejo's set and Anasuya Engel's costumes add period flavor. Macha Theatre, 1107 N. Kings Road, W.Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; through Aug. 15, plays411.com/circleofwill. (323) 960-7822. (Deborah Klugman)

FABRIC On August 2, 1995, federal authorities raided a sweatshop in EL Monte, where 72 Thai garment workers, mostly young women, were being held captive. Lured to this country under false pretenses, they lived as many as 12 to a room, laboring 17 hours a day for $300 a month. Commendable as a vehicle of instruction, playwright Henry Ong's heavy-handed docudrama chronologically depicts their recruitment, onerous captivity, rescue, and the trial and conviction of their employer, another Thai national whom the workers dutifully addressed as Auntie Suni (Dian Kobayashi). The drama adds fuel to our moral outrage when the question of what to do with the rescued illegals becomes an issue, with prominent government officials callously supporting their deportation. Devoid of nuance, the script's villains materialize as stark caricatures, especially the pivotal Auntie, who could easily give Snow White's stepmother a run for her money. From an artistic standpoint the production is saved by the performances of Jennifer Chang, Jully Lee and Jolene Kim as three of the trapped women; each relays her character's story with sensitive and compelling grace. Diana Toshiko in multiple roles and Ben Wang as a labor commissioner who takes action at last are also worth mentioning. Designer Luis Delgado's sweatshop set is appropriately dreary; Pia Smith's costumes add color. Marlene Forte and Tchia Casselle co-direct. Company of Angels at the Alexandria Hotel, 501 S. Spring St., L.A.; Fri.-Sat., 8 p.m.; Sun., 4:30 p.m.; through Aug. 8. (866) 811-4111. (Deborah Klugman)

GO LOVE, CONNIE Connie, our blond-wigged and hirsute heroine (writer-performer John Cantwell, from the Nellie Olesons), regales us with energetic flash dancing and pageantry, all set to raucous '80s pop tunes. The dance numbers are interspersed with sinister, projected minimovies that feature the menacing presence of a black leather–clad stalker with evil designs on Connie's precious white cat. Lightning-speed costume changes and high-energy dance routines keep the slightly demented Connie on her toes, and director Michael Bodie maintains a cracking pace. The 50-minute show co-stars Molly Cranna as the shapely cat "Vickie," complete with kitten mask and four sets of feline nipples. Her sweet pas de deux with Connie, set to Madonna's "Beautiful Stranger," signifies a flashback to when Connie adopted her beloved kitty. The only dialogue in this hilarious, risqué evening is an on-screen chunk of venomous exposition by villain Bambi (Kelly Mantle) explaining her deadly motivation. With its suggestive groping and simulated broomstick penetration, Love, Connie is not for delicate sensibilities. Then again, why not take your mom or grandma along? She might laugh her ass off. Cavern Club Theater at Casita del Campo, 1920 Hyperion Ave., Silver Lake; Fri.-Sat., 9 p.m.; through July 24. cavernclubtheater.com. (Pauline Adamek)