Chelsea Girls and Boys
is how employers and pals of the generous protagonist in James Christy Jr.s play,Never Tell
(Elephant Theater Co.), should probably describe him. Cheerfully efficient, Manny (Christopher Game, in a role double-cast with Daniel McCoy) toils away for a nameless corporation whose management regards him with reptilian indifference until he designs a miraculous software program for it. Manny also donates his free time editing video for a gallery-owning friend in New Yorks Chelsea neighborhood. This curator, Will (Robert Foster), is the kind of urbanite who knows much about artand
what he likes. Here its a multimedia installation by a mysterious artist who has included an eight-minute video of what appears to be the real-life rape of a very young woman. (This is where things are headed, he offers in the exhibits defense.) Mannys new software application and Wills controversial project set the storys corporate and art worlds drooling and Mannys downfall in motion.
To be fair, Mannys got company, as many things collapse inNever Tell.
Wills marriage to his investment-banker wife, Anne (Marisa OBrien) seems about to snap from the beginning and is not helped when she spends the night away from the installations opening-night party. While avoiding the exhibit she loathes, she meets a snarky venture capitalist named Hoover (Tito Ortiz) and later introduces him to her psychologically fragile girlfriend, Liz (Gia McGinley). Without anyone knowing it, all the dominoes are now lined up and point toward Manny, who was once Lizs lover and who also knows Hoover.
Liz, ironically, has recurring bouts of amnesia, while Manny is haunted by a photographic memory of their past together; maybe it only makes sense that Mannys computer application is basically a memory strip of cyber flypaper that collects a users personal data and then predicts his future consumer and business choices. The aptly named Hoover is a kind of human analogue to this program, a person who searches peoples conversations for information to be used against them.
More than by love or money, the play is powered by the lust for control. Theres the obsessive quest of Mannys clueless boss, Charkle (Brendan Connor), to maintain his corporate-executive status, and the greed of Hoover, who covets both Mannys new software and his old flame, Liz. Charkle and Hoover reveal the hollow vacuum operating where a human heart should beat, but on a more disturbing level still is Wills narcissist hunger for art-world fame and sexual dominance. (He blithely dismisses his wifes objections to the rape tape, while conducting an affair whose bedroom scenes Will literally stage-directs.) Poor Mannys sin seems to be his bland desire to be rewarded for his new software.
For all that, however, its hard to get a quick grasp on Christys play, let alone to easily cuddle up to it.Never Tells
astigmatic narrative focus doesnt allow audiences to figure out which characters to root for and which ones can be safely tuned out. Nor is the play a solid example of storytelling with a traditional orgasmic build, climax and release. Instead, it is a play that lives moment to moment while only disclosing the slightest clues of what is to come: the glimpse of a floppy disk here, the opening of a Tums bottle there. Perhaps the most straightforward moments are the characters flashback accounts of early sexual experiences, quiet scenes in which the actors are spotlit by flashlights.
Despite some unnecessarily long scenes and second-act drift,Never Tell
is a play that lingers in the mind, partly because of its unrelentingly Manichaean view of relationships and its jaundiced look at art voyeurism, and partly because of some strong performances in director Lindsay Allbaughs smart production.
Games Manny is a likable, Jack Lemmony portrayal because his goateed, bespectacled character is not just another computer nerd to be mocked but a vulnerable intelligence who deserves more than he gets in life. Ortizs breezy Hoover is a fine example of the chatty American go-getter, while even Fosters robotic gallery owner, Will, is frightening in his amoral cynicism. (I stopped fearing the truth, is how he explains his betrayal of his wife and friends.)
Besides deleting the intrusive indie rock score that covers the evenings scene changes, Allbaugh might have paid more attention to the female characters to compensate for their being underwritten. Overall, though, this is a sincere, skillful production. Joel Daavids spare, mobile set features six panels that swivel on poles. It works best when bringing us into Wills gallery, whose panels are hung with Jasper Johnslike assemblages that suggest both Yankee invention and antique kitsch. Bosco Flanagans dour lighting design sheds about all the illumination we need on Christys bleak landscape.
BetweenUs, Joe Hortuas reversal-of-fortune play,
currently running at the MET Theater, looks at two couples whose separate marital states turn 180 degrees in two acts. The story begins with dinner at the large, rustic home of Joel and Sharyl (Andrew Hamrick and Lisa Welti) and ends with an impromptu milkshake feast in the cramped Chelsea flat shared by their friends, Carlo and Grace (Ruben C. Gonzalez and Onahoua Rodriguez). Joel is a successful ad man and budding alcoholic; his old college chum, Carlo, is a photographer whos about to be included in a breakout exhibit.
At first the story merrily treads water with some reminiscences and much pouring of wine. An ominous undercurrent becomes evident, however, when Joel and Sharyl begin sniping at one another and we learn that they missed their guests wedding. By the time Joel switches to scotch, a shark fin has unmistakably appeared. Soon he and Sharyl are fighting over whether a window should remain open, and over exactly where a house plant should be placed. It escalates as Joel reveals an affair his wife has had, while she declares how much her husband repulses her.
All the while, Carlo and Grace stew in the most awkward stage silence this side ofThe Homecoming
theyd come to this fine place, with its track lighting, copper piping and wine basement, expecting to find encouragement in starting a family, only to encounter the prelude to a divorce and to find the crying of an offstage baby treated like an air-raid siren by Joel and Sharyl.
Things are quite different in Act 2. Now, two years later, we find Carlo and Grace in their own apartment. Turns out Carlo never made it into the exhibit that was to launch his career and Grace no longer venerates him as she had before. Instead, they have a baby, bills and no assignments for Carlo. In a masochistic decorative touch, a giant, framed blowup of their infant glowers down at the couple like a dictators portrait. Joel and Sharyl, in New York for some shopping, drop in unannounced while their chauffeur remains parked outside. After lots of couples therapy and many AA meetings for Joel, they now make for a nauseatingly happy couple, the kind who shoot each other smiles and neck in front of other people.
Emotionally bruising plays that begin as fun and games evenings spent among two couples are hardly new to theater and film (WhosAfraid of Virginia Woolf?, Your Friends and Neighbors
come to mind), but Hortua produces some clever riffs here and there. He uses a four-way argument about how much to tip a fast-food delivery man as a metaphor for guilt and ostentatious spending so much so? that its tempting to say the play is really about the delivery man whom we never see. But its not.
Unfortunately, thats too much
of a leap of logic (or faith) to make, especially since Hortua is reluctant to release his characters from the grip of sitcom. Just as his story threatens to wander into any meaningful territory (as when Carlo insists he deserves a $55,000 loan from Joel), the playwright cranks up the histrionics knob to Potboiler.
In fact, much ofBetween Us
sounds like a rough sketch of something deeper to come even though the play has already traveled the salmon run from South Coast Rep commission to Mark Taper workshop to Manhattan Theater Club premiere. If there is no there inBetween Us,
the problem is exacerbated by director Alejandro Furths under-rehearsed cast and a black-box venue with unbelievably bad sightlines. (I was in the highest row and half the time felt I was listening to a radio play, for all I could see of the actors.) Even Jake Epstines set, which features a New York apartment door with no locks, seems whimsically phony. Most of the ensemble range from over the top to medicated Welti alone doesnt seem to be acting and pulls together a credible performance as a soldier in a war called marriage.
| By JAMES CHRISTY JR. | Elephant Asylum Theater, 6322 Santa Monica Blvd., Hollywood | Through June 4 | (323) 962-0046
| By JOE HORTUA | La Comuna at the MET THEATER, 1089 Oxford Ave., Hollywood | Through June 4 | (323) 957-1152
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