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Don't really know how good this play is, but I do know that we haven't yet seen what's possible.

Ensemble Studio Theater – Los Angeles is staging an obscenely funny late-night rock-music sketch show, Crack Whore Galore — Live!, at its new Atwater Village theater. Created by Ryan Oliver, Danny Roew, Graham Sibley, Tonya Cornelisse and director Gates McFadden, it features Sibley and Cornelisse as Brit-trash rockers who met in a London rehab and somehow made it to Hollywood, or at least to its sidewalks, in pursuit of rock & roll stardom. Their band is called Crack Whore, and their hourlong cabaret opens with warm-up balladeer Jackie Tohn on acoustic guitar, crooning with remarkable vocal dexterity about low self-esteem and love. Into her act crash wafer-thin, obnoxiously loud Abbey (in shades, skirt and torn fishnets) and Danny Galore (in vest and ripped shirt), wielding a shopping cart filled with mannequins and other crap for their act.

Commenting loudly on how each of Tohn's songs is worse than the last, they "set up" behind her while she attempts to finish her act. They smash open a roll-down screen (to be used for a preview of their sex tape, sold after the show in the lobby). The moment the livid Tohn leaves the stage captures the moment '60s folk yielded to punk.

What follows is pornography in song. In fact, during a 30-second "break," guitarist Danny impregnates drummer Abbey for at least the sixth time since they met. You'd think Abbey is beyond a meltdown, but in a moment of despondency, she crawls inside the shopping cart: "I can't do this anymore, Danny, I just can't."

To woo her back, and out, he croons the love song that he wrote just for her: "It's all clogged up/The pressure's all built up/I think I might explode/Now I need to blow my fucking load. ..."

She swoons in adoration, and they're back on track. The power of love, and of song.

They try to tell us their "story," or to sell us their story — which is the larger point — but can't agree on the details. She's told a wrong version so many times, he can't quite grasp what's real anymore. There, but for the grace of God ...

It's not a life-changing event, but the energy electrifies, the music is surprisingly good and the performances are top-tier.

THE BREAK OF NOON | By NEIL LABUTE | GEFFEN PLAYHOUSE, 10886 Le Conte Ave., Wstwd. | Tues.-Fri., 8 p.m., Sat., 3 & 8 p.m., Sun., 2 & 7 p.m. | Through March 6 | (310) 208-5454

CRACK WHORE GALORE — LIVE! | Created by RYAN OLIVER, DANNY ROEW, GRAHAM SIBLEY, TONYA CORNELISSE and GATES McFADDEN | Presented by ENSEMBLE STUDIO THEATER–LOS ANGELES at the ATWATER VILLAGE THEATRE, 3269 Casitas Ave., Atwater Village | Thurs. & Sat., 10:30 p.m. | Through March 12 | ensemblestudiotheatrela.org | (323) 644-1929

 

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3 comments
Steve Fife
Steve Fife

As a playwright, it's nice to think that there are people like Steven Leigh Morris who take the time to read the play and care enough to write eloquently about the disparity between what worked on the page and not on the stage. However, as a theatergoer, I have to say that I have my doubts about this one. Maybe there is a way that this play could work in a different production, but maybe there is a way that every play could work in an ideal production. All I can say is that this was a depressing experience in the theater. And I have no idea what LaBute's purpose in writing it was. Is it about a fool who is singled out by God for no discernible reason, or is it about a God who would do such a thing? Is it about the mystery of faith or about the unknowability of God or about the randomness of existence? All are possible but none are dramatized here, at least not that I could tell. Nice of you to keep comparing this playwright to Moliere, but your comparison seems as deserved by LaBute as his jerk-protagonist was deserving of being saved.

Ryan
Ryan

Steven, most people have not had the luxury of reading the script for Break of Noon. All we have to go on is what we saw on stage. And that should be what is reviewed.

slm
slm

To be honest, I hadn't read the play when, right after the show, my response was still brewing. That's when I went back, and found my intuition supported by the written play. I agree what's on the stage should be reviewed, but also what's on the page, and where there may be a discrepancy between the two.

 
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