THE ANIMALS AND ME Vinnie Torrente's whimsical play has much of the flavor of a children's book, but it's undermined by clumsy and naïve dramaturgy. The characters are all animals, including the cops, Officer Hog (Matthew Dorio) and Officer Peggy (Cynthia Wilber), who are portrayed as pigs with snouts and curly pink tails. The action is precipitated by Wolfy (Meyer Deleeuw) because in the animal kingdom a law has been passed calling for the extermination of all wolves. Wolfy seeks to protest this by assembling his animal friends in a wolfish rights committee, comprising motherly hen Chickie (Julie Barry), lawyerly Mr. Owl (Joshua Grenrock), lumbering Mr. Bear (Chris Sloan) and timid Sheepy (Jeff Williams). When they're arrested for protesting without a license, Wolfy is put on trial under capricious Judge Gorillo (John Moskal), with Mr. Owl as defense attorney and a shifty Mr. Katz (Mark Rebernik) as prosecutor. The script is good-humored and good-hearted, and the actors — Deleeuw in particular — lend considerable charm. Their efforts, however, are hindered by too many blackouts, awkward scene changes and more issues than a simple tale can accommodate, including the offstage murder of an animal-rights advocate and a greedy offstage corporation utilizing eminent domain to seize the animals' property. Raven Playhouse, 5233 Lankershim Blvd., N. Hlywd.; closed. (Neal Weaver)
PHOTO BY DOUG ENGALIA
Inspecting Carol
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BULLSHOT CRUMMOND AND THE INVISIBLE BRIDE OF DEATH A sense of humor can be a funny thing. In 1972, when creators Ron House and Diz White first burlesqued the patriotic, globe-hopping adventurer hero from H.C. McNeile's Bulldog Drummond pulp novels, the archetype of the stiff-upper-lip, sex-oblivious British adventurer was a cultural cliché overripe for satire. Monty Python's Flying Circus became a TV legend, roasting such hackneyed chestnuts. Thirty-five years, three wars and a sexual and digital revolution later, however, writer-director House's witless and laugh-challenged misfire of a "sequel" only illustrates how far the comedy gestalt has shifted. The unflappable, horse-hung Hugh Crummond (Oliver Muirhead) is back, this time newly wedded to the not-yet-bedded gal pal/sidekick Rosemary Fenton (Anastasia Roussel), when duty calls. Seems that arch villain Otto Von Bruno (Christian Rummel) has teamed with mad scientist Dr. Morton Fenwick (Rodger Bumpass) to bring down the British Empire with an army of invisible henchmen. But there's a limit to what even this otherwise fine ensemble can do with material tuned to the sensibility of a naughty British schoolboy, circa 1958. (Think Topper padded out with puerile dick jokes and overstretched double entendres.) Edwin Peraza's sound and Stephanie Schoelzel's costumes lend polish to a production that never should have left the drawing board. Whitmore-Lindley Theatre Center, 11006 Magnolia Blvd., N. Hlywd.; Fri.-Sat., 8 p.m., Sun., 3 p.m.; through Jan. 16. (800) 595-4849, bullshotisback.com. (Bill Raden)
GO CAUGHT In the aftermath of Proposition 8 passing in November 2008, one of the regrets of those who fought valiantly for gay marriage and against the proposition was that enough wasn't done to "normalize" gay couples. And while the events in David L. Ray's world-premiere play take place in July 2008, Caught furthers the cause by dramatizing one of those healthy relationships. In it, Angelenos Kenneth (Corey Brill) and Troy (Will Beinbrink) are on the eve of their nuptials, a ceremony that will be officiated by their friend Splenda (Micah McCain), who is ordained via the Internet. This blissful scene is interrupted by a visit from Kenneth's estranged sister, Darlene (Deborah Puette), who is very Southern and very Christian, as well as her daughter, Krystal (Amanda Kaschak). In the interludes between scenes, we also see Darlene's husband, T.J. (Richard Jenik), preaching to his conservative congregation in Georgia. Secrets, lies and surprising revelations fuel the drama. Director Nick DeGruccio deftly takes Ray's strong and likable characters from page to stage, sparingly playing up stereotypes for comedy without ever reducing the characters to them. Adding to the authenticity are Adam Flemming's delightfully detailed set and Katherine Hampton Noland's colorful couture. Adding to the emotional investment in the story is a talented cast; standouts include Puette, for her rich and intense portrayal of Darlene; McCain, for balancing divalike comedy with deep sincerity; and Kaschak, for combining fresh-faced innocence and a willfulness to create a very believable teenager. Zephyr Theater, 7456 Melrose Ave., L.A.; Fri.-Sat., 8 p.m., Sun., 2 p.m. (no perfs Dec. 24-25 and Dec. 31, added perfs Dec. 26 and Jan. 2); through Jan. 23. Buttermilk Productions in association with Drumfish Productions. (800) 595-4849, caughttheplay.com. (Mayank Keshaviah)
GO CYRANO DE BERGERAC Director Rae Allen revels in the equal measure of might assigned to pen and sword in Edmond Rostand's word-centric, swashbuckling classic. Allen's sure hand in guiding the text along a well-paced tragicomic trajectory begins with her decision to slash the first scene significantly, depositing the legendary lead character and his protruding nose onstage within a few minutes of the outset. John Colella tackles the titular role with an overabundance of seething anger and outward frustration at Cyrano's self-described ugliness, neglecting at times the character's inherent charm, a crucial hinge upon which the play's front door hangs: We have to fall in love with Cyrano if we are to feel the requisite frustration over Roxanne's (an arresting Olivia D'Abo) ill-informed choice of the doltish but adorable Christian (a sufficiently hapless Toby Moore) rather than her eloquent, adoring cousin. Romantic flatness aside, Colella successfully thrusts home poetic parlance, bringing an effortlessness of speech to the verbose role. Jonathan Redding does smarmy to perfection as the pining Comte De Guiche, and Mark Rimer bumbles beautifully as Raggeneau. Swordplay and balcony climbing are skillfully staged in the small space. Ruskin Group Theater, 3000 Airport Drive, Santa Monica; Fri.-Sat., 8 p.m., Sun., 2 p.m.; through Jan. 23. (310) 397-3244. (Amy Lyons)
