Theater Reviews: The Cradle Will Rock, Alceste, 100 Days

Also Love Letters to Women, Dangerous Beauty, Camino Real and more

Comments (0) By L.A. Weekly Theater Critics Thursday, Feb 17 2011

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GO THE CRADLE WILL ROCK When Orson Welles attempted to open his production of this Marc Blitzstein musical in 1937, it had to contend with attempts to shut it down by the U.S. Congress, the bureaucrats of the Federal Theatre Project and Actors' Equity. The fact that it was able to open at all was epic. In Blitzstein's work, the cradle represents not the sleeping baby of the lullaby, but a corrupt and immoral establishment bent on co-opting every aspect of American life. In Steeltown, USA, in 1937, local tycoon Mr. Mister (Peter Van Norden) has corrupted press, church, educators, artists and doctors to serve his greed and power hunger. He's opposed only by labor organizer Larry Foreman (Rex Smith, looking and sounding like the quintessential 1930s working-class hero), who leads a stirring call to action. Generic names like Reverend Salvation (Christopher Carroll) and Dr. Specialist (Rob Roy Cesar) are standard elements of agit-prop theater, but here the characters are given enough personal eccentricities to keep them funny and human. In bringing back many elements of his 1995 production for this same theater, director Daniel Henning gives us a lively, rousing, highly stylized version and doesn't patronize us by overinsisting on the obvious contemporary parallels. There are terrific performances from musical director David O and a hugely talented cast of 19, with special kudos to Smith, Gigi Bermingham as a soigné Mrs. Mister, Tiffany C. Adams, Jack Laufer, David Trice, Will Barker, Lowe Taylor, Matt Wolpe and several others. Blank Theatre Company at the Stella Adler Theatre, 6773 Hollywood Blvd., Hlywd.; Thurs.-Sat., 8 p.m., Sun., 2 p.m., through March 20. (323) 661-9827, theblank.com. (Neal Weaver)

GO DANGEROUS BEAUTY Though the paper-thin story line rushes toward predictability with the passing of every prepackaged plot point, exquisite production values and outstanding singing grace the debut of this musical about a 16th-century courtesan. Based on a true story, Jeannine Dominy's book centers on Veronica Franco (Jenny Powers), a poet of simple means who suffers a blow to the heart when her lover, Marco (James Snyder), protects his status as a future senator by marrying a woman of superior social standing. Heartbroken and headstrong, Veronica chooses to follow in her mother's (Laila Robins) footsteps by becoming a courtesan, a position in which she furthers her brilliance via special access to a bounty of books, while avenging her heartache in the beds of princes and prelates. Witty rhymes and wanton ways make Veronica one of the most powerful women in Venice until she gets into a spat with the increasingly evil Maffio (Bryce Ryness) and puzzlingly trades in her sought-after status for an exclusive affair with the now-married Marco. Things go from fancifully romantic to blandly tragic when Veronica is accused of witchcraft by the Inquisition. The hooker-with-the-heart-of-gold tale doesn't get elevated to any new heights here, but Powers sings the tunes of virtuous maiden and fallen angel with heaven-sent pipes. Snyder holds his own, too, though his character is too one-dimensional to account for the sexually adept and wickedly smart Veronica's long-lasting attraction to him. Ryness brings a rock & roll edge to his portrayal of the villain, but his lack of control prevents a seamless connection with the rest of the ensemble; his performance has the awkward feel of a hair-band guy trying to jam with indie-folk types. Benoit-Swan Pouffer does subtle wonders with the choreography and Soyon An's costumes are artful. The set, by Tom Buderwitz, grabs focus whenever the story doesn't. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena; Tues.-Fri., 8 p.m., Sat., 2 & 8 p.m., Sun., 2 & 7 p.m., through March 6. (Amy Lyons)

NR3: MOONLIGHT AND MAGNOLIAS Photo by Michael Lamont

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GO LOVE LETTERS TO WOMEN Flowers irritating your sinuses? Fondants being stuffed down your throat? Frilly Hallmark sentiments causing excessive eye-rolling? Marketers work overtime in early February to sell romance while inadvertently stimulating the "ugh" reflex. So forgive us if the premise of this world premiere, created by German Michael Torres and written by Ryan T. Husk, gives us pause. Inspired by Torres' life growing up with five older sisters, the series of monologues examines men's relationships with all the women in their lives. The opening sequence, in which the five actors offer descriptive phrases such as "women are faith" and "women are queen," is as sickly-sweet as a box of cheap chocolates. Fortunately, though, director Hector Rodriguez has cast a group of men talented enough to overcome that initial saccharine taste by rendering the monologues that follow with real heart. Mario Martinez delivers his one-liners ("She was foreign-exchange-student hot") as casually as if they just came to him, and J. Todd Howell's realizations as a good ol' boy confronting his prejudices elicited tears in the audience. Michael Ruesga easily is the star of the show, and the night could use more of Jeff Blumberg's adorable dorkiness. Even Kevin Vavasseur, who's like a bull in an airplane bathroom, finds his stride in a piece about the Lakers. Across the board, the monologues are too long, but over the course of the evening, even the coldest, crankiest resistance to romantic sentimentality will have started to melt a little. Casa 0101, 2009 E. 1st St., Boyle Heights; Fri.-Sat., 8 p.m., Sun., 5 p.m., through March 6. (323) 263-7684. (Rebecca Haithcoat)