STAGE FEATURE on August: Osage County
THE LATEST NEW REVIEWS
Playwrights Phyllis Nagy and Ron Hutchinson joined actress Katherine Tozer in a panel discussion last night, hosted by Rogue Machine, about London's Royal Court Theatre, and the role it continues to play incubating new work. (Yours Truly moderated.)
Tozer, who appeared in the Royal Court Theatre premiere of Caryl Churchill's Far Away, is visiting from London to perform in Nagy's Never Land, which opens at Rogue Machine October 8.
Hutchinson, born near Lisburn, Norther Ireland, has been a screenwriter here for two decades. He was a writer-in-residence with the RSC, and also worked at the Donmar Warehouse. In the early 1980s, he was commissioned by the Royal Court Theatre's artistic director, Max Stafford Clark, to write “something about the Irish,” a theme Hutchinson said he'd grown weary of. Nonetheless, he cranked out a play called Rat in the Skull, which went on to make Hutchinson's career, with productions around the world (including the Public Theatre and the Mark Taper Forum). Hutchinson recalled the dive that was the Royal Court Theatre, broken chairs and warnings not to go down this hallway or that, for safety reasons. He recalled stumbling upon dust-covered stage manager's notes from the theatre's 1956 production of John Osborne's Look Back in Anger (the play that defined a generation of new writing), as well as old photos of George Bernard Shaw attending rehearsals, from when the building was the English Stage Company. An audience member noted that she showed up there in the '60s looking for a work, when she was 16. It was the place to work, she said. She said she took tickets and eventually became a stage manager.
SCROLL DOWN FOR THIS WEEK'S COMPREHENSIVE THEATER LISTINGS
By the time that Nagy — a New Yorker — arrived there, the artistic
directorship was in transition between Max Stafford Clark and Stephen
Daldry, who upped the number of plays produced from four per year to
12. “There was no 'development,' Nagy said. “They liked a play, they
did it,” and whatever refinement there was occurred directly from the
input of the theater's artistic director. No literary committees, no
dramaturgs. They also weren't obsessed with whether a play drew
audiences or not. Their concern, Nagy said, was putting on what they
believed were good plays. The stifling impulse of American new play
development, Nagy said, is dramaturgs asking “What's this play about?”
when playwrights so often write play in order to discover what they're about. It's
a question, she said, that leads to the topical “issue” dramas the
populate television dramas and documentaries, but are so deadly in the theater.
Nagy added that American artistic directors want some kind of assurance
that a play is going to “work” before they put it on the stage. Even if
the word “work” is defined by ticket sales (which is one of many
standards), play development still isn't a science, and the fiddling
usually interferes with the originating impulse for why the play was
created.
“As soon as all those yellow notepads come out,” Hutchinson added, you know the play is going down the toilet.
Tozer pointedly added that the American system, which is really a
TV/film system, has now been adopted by the British, and that even at
the Royal Court Theatre, any playwright who isn't named David Hare or
Caryl Churchill will have to answer to a literary committee, which
sometimes includes the actors in the play being read or workshopped.
Tozer said she felt it was neither her responsibility nor her job to
help develop a play that she's acting in.
COMPREHENSIVE THEATER LISTINGS for September 18-24, 2009
(The weekend's NEW REVIEWS are embedded in “Continuing Performances” below.
You may also be able to search for them by title using your computer's
search program.)
Our
critics are Paul Birchall, Lovell Estell III,Martin Hernandez, Mayank
Keshaviah, Deborah Klugman, Steven Leigh Morris, Amy Nicholson, Tom
Provenzano, Bill Raden, Luis Reyes, Sandra Ross and Neal Weaver. These
listings were compiled by Derek Thomas
OPENING THIS WEEK
ECLIPSED Danai Gurira's study of “the wreckage of war.”. Kirk
Douglas Theatre, 9820 Washington Blvd., Culver City; opens Sept. 20;
Sun., Sept. 20, 6:30 p.m.; Tues.-Fri., 8 p.m.; Sat., 2 & 8 p.m.;
Sun., 1 & 6:30 p.m.; thru Oct. 18. (213) 628-2772.
OKLAHOMA! Civic Light Opera South Bay Cities presents the Rodgers
and Hammerstein musical. Redondo Beach Performing Arts Center, 1935
Manhattan Beach Blvd., Redondo Beach; opens Sept. 19; Tues.-Sat., 8
p.m.; Sun., 2 p.m.; thru Oct. 4. (310) 937-6607.
ART EXPLAINED! Dr. Maxley's “Whole-Body Lecture Performance.”.
Sacred Fools Theater, 660 N. Heliotrope Dr., L.A.; opens Sept. 21;
Mon., 8 p.m.; thru Oct. 5. (310) 281-8337.
BOSTON MARRIAGE David Mamet's Victorian comedy. Lonny Chapman Group
Repertory Theatre, 10900 Burbank Blvd., North Hollywood; Sat., Sept.
19, 3 p.m.; Fri., Sept. 25, 8 p.m.; Sun., Sept. 27, 7 p.m.; Thurs.,
Oct. 1, 8 p.m.; Sun., Oct. 4, 3 p.m.; Sat., Oct. 10, 8 p.m.; Sat., Oct.
17, 3 p.m.; Fri., Oct. 23, 8 p.m.; Sun., Oct. 25, 7 p.m.; Thurs., Oct.
29, 8 p.m.; Sun., Nov. 1, 3 p.m.; Sat., Nov. 7, 8 p.m.. (818) 700-4878.
FINDING NEO Original one-acts by Denise Devin, Alex Dremann, Michael
Erger, David Garry, Mark Harvey Levine, David Lewison, Marina Palmier,
Donaco Smyth, and Ralph Tropf. Secret Rose Theater, 11246 Magnolia
Blvd., North Hollywood; opens Sept. 24; Thurs., 8 p.m.; thru Oct. 29.
(877) 620-7673.
CONTINUING PERFORMANCES IN LARGER THEATERS
ART Yasmina Reza's comedy, translated by Christopher Hampton, about
three friends' differing definitions of art. East West Players, 120 N.
Judge John Aiso St., L.A.; Wed.-Sat., 8 p.m.; Sun., 2 p.m.; thru Oct.
11. (213) 625-7000.
NEW REVIEW GO AUGUST: OSAGE COUNTY
Photo by Robert Saferstein
Tracy
Letts' 2007 Great American Family Drama, or so we'd believe from the
national press, four Tony Awards and the Pulitzer Prize, has pulled in
at last to the Ahmanson Theatre in a Steppenwolf Theatre Company
production, handily staged by Anna D. Shapiro. (Steppenwolf was the
company that commissioned the work.) The drama, set in Oklahoma,
consists of almost four hours of revelations about a truly fucked-up
family, liberally peppered with dashes of Gothic humor. Oh we love our
gothic family epics. Pulitzer Prizes have gone to Crimes of the Heart, The Kentucky Cycle,
and now this. We meet Beverly Weston (Jon DeVries), a crusty,
hard-drinking T.S. Eliot-quoting member of literati pontificating to
his newly hired Cheyenne Indian housekeeper (DeLanna Studi) about the
point and pointlessness of existence. (She will eventually be seen
sitting cross-legged on a bed, perched at the pinnacle of Todd
Rosenthal's three-tier set, as a kind of metaphor of the stoic, silent
and dignified tribe these resident clowns superseded.) He's hiring the
sweet-natured woman to care for his cancer-afflicted spouse (Estelle
Parsons), who wanders between cogency and unconsciousness, between
staggering forward and lying prone, from all the pills she's imbibing.
The next thing we know, Beverly has disappeared, along with his boat,
and this can't be good. What follows is a gathering of the clan, and
what a clan. Imagine a cross between Long Day's Journey Into Night at Del Shore's Comedy, Daddy's Dyin', Who's Got the Will?
It has some of the gravitas of O'Neill's classic and much of Shore's
brand of sitcom humor. This very combination, on the four-hour boiler,
results in, well, a very funny, and finely performed potboiler.
Compared to O'Neill, it's a mere shadow, but compared to the gloss of
so many family dramas on our stages, Letts is at least reaching for a
suggestion that his clan represents the state of America in the world.
“This country was always a whorehouse,” is how a character recalls
Beverly's conviction. “But now it's just a shit hole.” The reach is a
bit of a strain – present a nutty, masochistic family onstage and then
say, hey this is the U.S.A., and as funny as much of the farce may be,
the play feels as long as it is largely because the power of subtext,
of the unspoken, keeps getting punctured by the jokes. It doesn't dig
deep enough to justify its length, but when it does make that
subterranean plunge, and lays off the one-liners for a span or two, the
power of the drama, and of these terrific actors, rumbles through the
theater with exquisite grandeur. Ahmanson Theater, 135 N. Grand Ave.,
downtown; Tues.-Fri., 7:30 p.m.; Sat., 2 & 8 p.m.; Sun., 1 &
6:30 p.m.; through October 18. (213) 972-4400. (Steven Leigh Morris)
See Theater feature.
GO BRIGHT IDEAS “All the world's a stage, and our
children our players,” advises a tutor to parents Genevra (Amie
Farrell) and Joshua Bradley (Brian Stanton) in Eric Coble's chipper
comedy inspired by the playwright's own preschool panic attack. The
Bradleys' offstage son Mac is on the wrong end of 3 — in months, he'll
be 4 — and his chances for a kind success that would be set in
concrete depend on getting him off the waiting list for the area's best
preschool, or so warn the over-achiever breeders at their playground.
The obstacle is Genevra's recently divorced co-worker Denise (Meghan
Maureen McDonough) who just bought her child's slot by donating her
family's fortunes to build the school's new Aquatics Center. When the
couple invites Denise over for some poisoned pesto — the better to get
her tot sent away to live with his dad — Coble's script giddily
underlines its allusions to Macbeth (“Is this a mortar and pestle I see
before me?” frets Genevra). Caryn Desai's chirpy direction prefers
laughs to moral agonies, and her comic ensemble, rounded out by Louis
Lotorto and Heather Corwin, keeps the tone quick and fun. This isn't
aiming to usurp the Bard's place in the canon, but Coble enriches his
semi-serious premise with a layer of class resentment and modern
masculinity issues that intensify as Stanton's very-funny patriarch
struggles to wash the phantom basil from his hands. (Amy Nicholson)
International City Theatre, 300 E. Ocean Blvd., Long Beach; Sat.-Sun.,
8 p.m.; Sun., 2 p.m.; thru Sept. 20. (562) 436-4610.
GO THE CHERRY ORCHARD In 1950, writer-director Josh
Logan transferred Chekhov's play to the American South in an adaptation
called The Wisteria Trees. Now, director Heidi Helen Davis, and Ellen
Geer have reset the play near Charlottesville, Virginia, and updated it
to 1970. The ex-serfs have become the descendants of slaves, and
Chekhov's Madame Ranevsky has become Lillian Randolph Cunningham (Ellen
Geer), the owner of the famous cherry orchard that's “mentioned in the
Encyclopedia Britannica.” Though it's a very free adaptation, it
admirably preserves the play's flavor and spirit. And while Davis'
production skewers the characters for their vanity, folly and
ineptitude, it treats them with affectionate respect. She's blessed
with a wonderful cast, including William Dennis Hunt as the landowner's
garrulous, fatuous brother; J.R. Starr as an ancient family retainer;
Melora Marshall as the eccentric governess Carlotta; and Steve Matt as
the grandson of slaves ― and a go-getter businessman who longs to be
the master. The production is easygoing, relaxed, faithful in its own
way, and often very funny. It may be the most fully integrated (in
every sense of the word) production of the play that we're likely to
see. (NW) Theatricum Botanicum, 1419 North Topanga Canyon Blvd.,
Topanga; call for schedule; through September 26. (310) 455-3723 or
www.theatricum.com.
GO CYMBELINE What might Shakespeare have written if
he'd been asked by some 17th-century counterpart of a TV producer to
come up with something quick, hot and flashy? It's likely an
extravagantly plotted comedy like this one, with story ideas snatched
from legend, his peers and some of his own better-developed and more
sublime works. Regarded today as one of Shakespeare's more minor plays,
this comedy revolves around a king's daughter named Imogen (Willow
Geer), banished from court by her father, Cymbeline (Thad Geer), for
daring to marry the man of her choice. The plucky gal's travails
intensify when a villain named Iachimo (Aaron Hendry, alternating with
Steve Matt) decides willy-nilly to slander her to her husband Posthumus
(Mike Peebler), who then commands a servant to assassinate her for her
alleged infidelity. Her wanderings eventually land her on the doorstep
of her father's old enemy, Belarius (Earnestine Phillips), who has
raised two of Cymbeline's children (thus Imogen's own siblings) as her
own. Director Ellen Geer has fashioned an appealing production laced
with an aptly measured dose of spectacle and camp. At its core is
Willow Geer's strong and likable princess. As her adoring and, later,
raging, jealous spouse, Peebler's Posthumus is earnestly on the mark,
while Jeff Wiesen garners deserved laughs as the foppish suitor she'd
rejected. The latter meets his end at the hands of the princess'
newfound brother, well-played by Matt Ducati. (DK) Will Geer Theatricum
Botanicum, 1419 N. Topanga Canyon Blvd., Topanga; Sun., 3:30 p.m.; thru
Sept. 27. (310) 455-3723.
GO GASLIGHT Patrick Hamilton's 1944 potboiler
(originally Angel Street) continues to be one of the most revived
theatrical chestnuts because its melodrama is so unapologetically
intense. In an unfashionable section of late-Victorian London, our
heroine Mrs. Manningham (Corrine Shor) is tormented by demons of
insanity and the cruel taunting of her domineering husband (John
Cygan). Additionally the master is sensually attentive to the young
buxom maid (Emily Bridges) – or is it her imagination? Jeff G. Rack's
lavishly detailed burgundy set, with perfect gaslight effects by
lighting designer Yancey Dunham, creates the ideal atmosphere for the
dripping suspense. The actors, under Charlie Mount's austere direction,
commit fully to the chilling revelations as we move slowly towards a
known outcome. Don Moss is particularly delightful as a hard-bitten
Scotland Yard detective, even though he joined the production late in
rehearsals and was still a bit shaky on his lines at the performance I
saw. Likewise the smallish role of a comic maid (in a fine performance
by Mary Garripoli) turns into a tense ally of the oppressed Mrs. M.
Costumes by Valentino round out this very satisfying production. (Tom
Provenzano) Theatre West, 3333 Cahuenga Blvd. West, L.A.; opens Aug.
28; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; thru Sept. 27. (323) 851-7977.
JULIUS CAESAR One must give director Ellen Geer credit for at
least attempting to add some tragic ballast to the usual mix of
Bard-lite romances and comedies that typically monopolize summer
Shakespeare stages. That said, Geer turns in a curiously staid and
colorless revival of what is ostensibly an Elizabethan version of a
high-octane political thriller. Given that the political arena in this
case is a Republican Rome riven by the rising dictatorship of Julius
Caesar (Carl Palmer), the thrills should be of the rhetorical,
persuasive kind as the anti-Caesarean conspirator Cassius (Melora
Marshall) sets about turning the conscience of the noble, putatively
pro-Caesarean Brutus (Mike Peebler). With Marshall's singularly
strident Cassius (in some gender-bent casting that is as close to a
staging concept as this production comes), however, there is little to
distinguish the fawning manipulator who plays on Brutus' patriotism and
vanity in Act I from the petty and corrupt quarreler to whom Brutus
finds himself joined in Act IV. The missing contrast proves fatal to
Peebler's performance, reducing Brutus from a man ensnared by his sense
of honor to the most gullible Roman of them all. Aaron Hendry delivers
a suitably athletic and ruthless Marc Antony, making the famed
“Friends, Romans, countrymen . . .” funeral oration the evening's
show-stopper, while Alan Blumenfeld's robust Casca and Susan Angelo's
ambition-inflected Portia both provide noteworthy support. (Bill Raden)
Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga;
Sun., Sept. 6, 7:30 p.m.; Sat., 4 p.m.; thru Sept. 26. (310) 455-3723.
LOUIS & KEELY: LIVE AT THE SAHARA I haven't seen this musical
study of '50s lounge-act crooners Louis Prima and Keely Smith since its
transcendent premiere at Sacred Fools Theatre last year, and oh, is it
different. Documentary and Oscar-nominated film maker Taylor Hackford
has been busy misguiding writer-performers Jake Broder and Vanessa
Claire Smith's musical. Taylor took over from director Jeremy Aldridge,
who brought it to life in east Hollywood. Smith and Broder have drafted
an entirely new book, added onstage characters – including Frank
Sinatra (Nick Cagle) who, along with Broder and Smith, croons a ditty.
(As though Cagle can compete with Sinatra's voice, so embedded into the
pop culture.) They've also added Prima's mother (Erin Matthews) and
other people who populated the lives of the pair. The result is just a
little heartbreaking: The essence of what made it so rare at Sacred
Fools has been re-vamped and muddied into a comparatively generic bio
musical, like Stormy Weather(about Lena Horne) or Ella(about
Ella Fitzgerald). The good news is the terrific musicianship, the
musical direction originally by Dennis Kaye and now shared by Broder
and Paul Litteral, remains as sharp as ever, as are the title
performances. Broder's lunatic edge and Bobby Darin singing style has
huge appeal, while Vanessa Claire Smith has grown ever more comfortable
in the guise and vocal stylings of Keely Smith. It was the music that
originally sold this show, and should continue to do so. With luck,
perhaps Broder and Smith haven't thrown out their original script.
(SLM) Geffen Playhouse, 10886 Le Conte Ave., Westwood; Tues.-Thurs., 8
p.m.; Fri., 7:30 p.m.; Sat., 3:30 & 8 p.m.; Sun., 2:30 & 7:30
p.m.; through September 27. (310) 208-54545.
MATTHEW MODINE SAVES THE ALPACAS Matthew Modine stars as a
fictionalized version of himself in Blair Singer's world-premiere
comedy. Geffen Playhouse, 10886 Le Conte Ave., Westwood; Tues.-Fri., 8
p.m.; Sat., 3 & 8 p.m.; Sun., 2 & 7 p.m.; thru Oct. 18. (310)
208-5454.
GO THE MISER Director Ellen Geer delivers a
hilarious and highly polished production of Moliere's comedy. It's a
faithful rendition, despite the fact that she's garnished it with
several original songs (written with Peter Alsop), a dog, and some
creative anachronisms: Neither cod-pieces nor horn-rimmed glasses quite
belong in 1668, but they prove capital laugh-getters. The production's
greatest asset is Alan Blumenfeld, who delivers a wonderfully demented,
larger-than-life performance as the miser Harpagon, calling on the
traditions of music-hall, vaudeville and burlesque to create a portrait
of monstrous greed and vanity. He's ably assisted Mike Peebler as his
rebellious, clothes-horse son Cleante, Melora Marshall as the
flamboyant match-maker/bawd Frosine, Ted Barton as a choleric
cook/coachman, and Mark Lewis as Cleante's sly, wily side-kick, La
Fleche. As the young lovers, Peebler, Samara Frame, Chad Jason
Scheppner, and understudy Jennifer Schoch capture the requisite
romance, while lampooning the coincidences and shop-worn theatrical
conventions of the genre, and a large cast provides fine support. The
lavish costumes, including Cleante's outrageous
suit-of-too-many-colors, with its gloriously obscene, giggle-inducing
cod-piece, are by Shon LeBlanc and Valentino's Costumes. (Neal Weaver)
Theatricum Botanicum, 1419 North Topanga Canyon Boulevard, Topanga;
thru September 24; in rep, call for schedule (310) 455-3723.
GO NEVERMORE Poor Edgar. In Dennis Paoli's one-man
play, beautifully directed by Stuart Gordon, Jeffrey Combs portrays the
bedraggled Southern poet, Poe, in a staged reading. He's a bundle of
idiosyncrasies ― tremors and a hesitation to complete sentences. The
man is ill with fevers and despondent over the recent death of his
wife, yet from the twinkle in Combs' eye, it's clear he rather enjoys
the attention of strangers, and is deeply proud of his masterwork, “The
Raven,” which he'll recite when he gets around to it. His
concentration, and his ability to perform, are steadily more impeded by
the after effects of a bottle of whiskey, which he clutches at the
inside of his suit. Fortunately, he recites “The Tell-Tale Heart” while
still lucid, and what an absurd, showoff-y, macabre display it is ―
pure Victorian melodrama, in the style of Chekhov's one-act, one-man
show: “On the Harmfulness of Tobacco,” also about man making a
presentation ostensibly for one purpose, while undone by another.
Chekhov's character is persecuted by his wife, or by his imaginings of
her. Edgar is torn by the presence of his fiancée, who is assessing
whether her groom-to-be can stay on the wagon. The harrowing answer
becomes self-evident as, in one scene, he goes off on a spontaneous
rant against Longfellow; and in another, as he's leaping around to a
poem about bells, he abruptly falls off the stage into the orchestra
pit. It's an almost unbelievably hammy turn, as mannered as the style
of the era he's depciting, a gorgeous rendition of a tragic clown whose
heart has been cleaved open by loss and regret. His rendition of “The
Raven” is clearly an homage to his late wife, and how any hope of her
return is forbidden by the reprise of this show's title. (SLM) Steve
Allen Theater, 4773 Hollywood Blvd., Los Angeles; Fri.-Sun., 8 p.m.;
through Sept. 26. (323) 666-4268.
THE NIGHT IS A CHILD A suburban kid in Brookline, Massachusetts – a
good kid, a fine student, a personable young man — goes on a killing
spree at his local school, leaving dozens of children and teachers
dying in pools of blood. Charles Randolph Wright's play studies the
family of the teenage killer who took his own life in the bloodbath,
concentrating years later on the mother, a widow named Harriet (JoBeth
Williams). On the anniversary of the rampage, Harriet goes AWOL to Rio
de Janeiro, thereby mystifying her concerned adult son and daughter
(Tyler Pierce and Monette Magrath) as to her whereabouts. She arrives
not speaking a word of Portugese, yet she stumbles upon a vivacious,
native guide named Bia (Sybyl Walker), whose sweet energy, and that of
an inexplicably accommodating hotel owner named Joel (Maceo Oliver)
lands her a room on the otherwise overbooked Ipanema beachfront. Joel
must have had a reason for canceling somebody else's reservation in
order to make room for Harriet. If he was charmed by her befuddlement
being in a foreign country, for which she'd taken no pains to prepare
by learning even the rudiments of the language spoken there, it was a
charm I missed. Why Joel would randomly cancel the reservation of one
guest in order to make space for this tourist-in-distress is the first
in a series of improbabilities that form the glue of Randolph-Wright's
Post-It note of a play. (Steven Leigh Morris) Pasadena Playhouse, 39 S.
El Molino Ave., Pasadena; Tues.-Fri., 8 p.m.; Sat., 4 & 8 p.m.;
Sun., 2 & 7 p.m.; through Oct. 4. (626) 356-7529.
GO OEDIPUS THE KING, MAMA! Troubadour Theater
Company's musical parody of Sophocles' play, of musical shtick, of
Elvis mania and of cheesy theatrical devices comes in the tradition of
the Troubies' mashing of classic lit into pop music (Twelfth Dog Night, Alice in-One-Hit-Wonderland, Much Adoobie Brothers About Nothing).
The event's thrill hangs on the tautness of the theatrical wires that
bind the classical source material, the music and free-wheeling
improvisation. (Steven Leigh Morris) Falcon Theater, 4252 Riverside
Dr., Burbank; Wed.-Sat., 8 p.m.; Sun., 4 p.m.; through September 27.
(818) 955-8101.
NEW REVIEW GO PEACE
Photo courtesy of J. Paul Getty Trust
If
you don't like your walking peace symbol to be a slightly bewildered
pot-smoking goofball (John Fleck) who, during an entirely gratuitous
interlude, leads the crowd in a ditty that literally sings the praises
of masturbation (“It felt so nice, I did it twice”), look elsewhere.
Low comedy doesn't come any lower than this: huge balloon phalluses
poking out from tunics, or bashing audience members as the characters
parade through the crowd. We're talking Aristophanes here – the child
prodigy class-clown playwright of ancient Greece (the “class” may be
overstated) who loathed corrupt authority figures almost as much as
Molière would a couple of millennia later. We're also talking Culture
Clash, the Latino sketch comedy trio (Richard Montoya, Ric Salinas and
Herbert Siguenza) – Montoya penned this adaptation of Aristophanes' Peace
with his compatriots – who sprung from Bay Area standup clubs with a
then unique brand of politically charged humor, a much ruder, cruder
prelude to Jon Stewart, both politically correct and incorrect in the
same breath, filled with indignation over rudimentary violations of
civil rights and civil liberties. The blending of ruthless parody with
self-confident and at times simple interpretations of Right and Wrong
has proven to be a rare, sustaining formula, and it's on full display
here, under Bill Rauch's animated and often whimsical staging.
Trygaeus, or Ty Dye (Fleck), ventures to heaven on a “dung beetle” to
free Peace (a statue) from lockup in Heaven. A noise neighbor diva (Amy
Hill) turns in a very big cameo. Montoya, in one of Shigeru Yaji's many
stunning costumes and Lynn Jeffries' puppet masks that somehow
re-proportion the human body) plays the war machine, a thug who tries
to stifle Ty Dye's efforts at every pass. Heaven is, of course, the
Getty Villa Museum, directly behind the amphitheater stage, also
decorated with free-rolling Yoga balls, and a huge portable mound of
pop culture (or poop culture) detritus referred to as a “shit pile.”
(Set by Christopher Acebo). There's a joke for every corner of the
region, from Montebello to Malibu, and Montoyoa has reconfigured the
play's finale so that Aristophanes' happy ending with a marriage gets
tossed for the visit of a sweet, silent child, who faces down War. The
update is a fine idea, particularly as the sheer energy of the hijinx
start to wear down. Yet it takes us no further than the classic Vietnam
War photograph of a female Hippie protestor facing down a National
Guard bayonet with a daisy. And that was at least four American wars
ago. If war is so bad, why do we love it so much? To trace the warring
impulse to father issues, as this adaptation does, keeps the show
enshrined in the same pop psychology that it mocks so well throughout.
The production is beautifully accompanied by the femme-trio mariachi
band, Las Colibri. Barbara and Lawrence Fleischman Theater at the Getty
Villa, 17985 Pacific Coast Highway, Malibu; Thurs.-Sat., 8 p.m.;
through October 3. (310) 440-7300. (Steven Leigh Morris)
PUPPET UP! — UNCENSORED Naughty improv by Henson Alternative
puppeteers. Avalon, 1735 Vine St., L.A.; Sat., Sept. 19, 8 p.m.. (323)
462-8900.
NEW REVIEW SOLITUDE
Photo by Ed Krieger
Inspired
by Octavio Paz's collection of essays, The Labyrinth of Solitude,
Evelina Fernández's drama with music attempts to explore core issues of
family, love, death and cultural identity, but the result fails to make
much of an impression. On the occasion of his mother's funeral, an
emotionally distraught Gabriel (Geoffrey Rivas) invites a small group
of friends who attended the ceremony to his luxurious penthouse for an
after-party. Present are a character simply called The Man (Robert
Beltran), Johnny (Sal López), Angel (Fidel Gomez), Ramona (Fernández)
and Gabriel's wife Sonia (Lucy Rodríguez). Amidst the revelry, the sad
story of Gabriel's relationship with his mother slowly emerges. She was
a woman he abandoned years before her death because he was ashamed by
her poverty. Other secrets come to the fore during the long evening
that reveal startling connections between the guests, and forces them
to confront the painful realities of their past and present. Fernandez
is adept at writing with cheeky humor, but is less so at exploring the
substance and soul of her characters. Much of what transpires appears
as narrative convenience or airy contrivance, particularly the
lead-heavy emotional finale, which features a moving song by Lopez in
Spanish. Urbanie Lucero's choreography is attractive, but the colorful
Mexican dancing is sometimes layed on too thick by director Jose Luis
Valenzuela. The performances are quite good, however, particularly
Beltran who has a formidable stage presence. Semyon Kobialka's cello
accompaniment is flawless, and Francois-Pierre Couture's skewed
picture-frame scenic design effectively suggests how we're skewed by
our experiences. Los Angeles Theatre Center, 514 S. Spring St.,
downtown; Thurs.-Fri., 8 p.m.; Sat., 3 & 8 p.m.; Sun., 3 p.m.;
thru. October 3. (213) 489-0994. (Lovell Estell III)
VISITING MR. GREEN If you're Jewish — or grew up in New York or
another American urban metropolis — you've probably met the kind of
cantankerous old codger depicted in playwright Jeff Baron's sometimes
heartwarming but mostly preachy and predictable message play. Mr. Green
(Jack Axelrod) is a grieving 86 year old widower and an observant Jew.
He doesn't get out much nor does he care to. Into his life comes a
young gay man named Ross (Antonie Knoppers), assigned to the community
service task of assisting Mr. Green after he nearly ran him over with
his car. Unfriendly at first, Green warms to Ross after learning that
he's Jewish too (“Why didn't you say so in the first place?” ) – but
soon turns away in disgust after Ross informs him of his homosexuality.
The rest of this somewhat contrived and dated (think 1970s, though the
play premiered in 1996) plot follows the coming together of these two
individuals as Ross pours out his soul and Mr. Green reveals the
existence of a long-estranged daughter. One problem with this polarized
setup is Green's unworldly attitudes: He doesn't understand the word
gay and thinks American Express is a train. This might be credible
coming from an immigrant but hardly from a native-born former shop
owner, which Green is. That Ross doesn't know where his grandparents
emigrated from also seems a stretch). Under David Rose's direction,
Knoppers grows believably impassioned; Axelrod, on opening night,
created a convincing bigot but his performance needs more shading and
nuance. (Deborah Klugman) Colony Studio Theater, 555 N. Third St.,
Burbank; Fri.-Sat. 8 p.m.; Sun., 3 p.m.; (added perfs Sat., Sept. 5
& 12, 3 p.m. and Thurs., September 17 & 24, 8 p.m.; thru
September 20. (818) 558-7000.
CONTINUING PERFORMANCES IN SMALLER THEATERS SITUATED IN HOLLYWOOD, WEST HOLLYWOOD AND THE DOWNTOWN AREAS
ACME SATURDAY NIGHT ACME's flagship sketch show, with celebrity
guest hosts each week., $15. Acme Comedy Theatre, 135 N. La Brea Ave.,
L.A.; Sat., 8 p.m.. (323) 525-0202.
GO ANITA BRYANT DIED FOR YOUR SINS The title of Brian
Christopher Williams play suggests a slick, sassy gay comedy, and so it
is–but it is much more than that, something far richer. Growing up
during the Nixon era, deeply closeted 11-year-old gay boy Horace (a
terrific Wyatt Fenner) develops a monstrous crush on his hunky gym
teacher (Nick Ballard). Horace and his family weather the Vietnam War,
and big brother Chaz (Nick Niven) flees to Canada to escape the draft.
In the recession of the 1970s, Dad (Tony Pandolfo) has economic
reverses, and Mom (Jan Sheldrick) loses her job. And when Anita Bryant
(Madelynn Fattibene) launches her militant campaign against gay rights,
Horace learns that there are people who will hate him for who he is. He
must come out to his loving but irascible parents, and he's overcome by
jealousy when he realizes his adored teacher is having an affair with a
neighbor (Sara J. Stuckey). He retaliates by betraying the teacher, in
a way he knows is shameful. Williams' play becomes a funny and touching
family saga as well as the tale of a bright gay kid striving to grow
up. Richard Israel provides wonderfully nuanced direction, and the
entire cast is splendid. (Neal Weaver) El Centro Theatre, 800 N. El
Centro Ave., Hollywood; Fri.-Sat., 8 p.m., Sun., 3 p.m., through
October 4. (323) 460-4443 or tix.com. A West Coast Ensemble production.
GO BLACKBIRD Adam Rapp's 2001 romance unfolds on a
rented room in NYC's Canal Street in the late 1990s, where a young
woman named Froggy (Jade Dornfeld), dressed in woolen cap and layers of
sweats, emerges from within the closet, at the beckoning of her
roommate and support system, Baylis (Johnny Clark). Despite the minor
plot and dialect quibbles, Ron Klier directs an absorbing production,
laden with attention to the sweet relationship in a bitter world.
(Steven Leigh Morris) Elephant Theatre Lab, 6324 Santa Monica Blvd.,
Hollywood; Thurs.-Sat., 8 p.m.; through September 19. (323) 860-4283. A
VS Theatre Company production
BLOCK NINE Tom Stanczyk's play, “an unapologetically same-sex, retro
noir 1930's gangster homage,” is performed in two alternating versions
― one with an all-male cast, reviewed here, and the other all-female.
It's less comedy of manners than comedy of the mannered, suggesting the
novels of Jean Genet re-played as farce. Though the characters are cops
and gangsters, like Genet's pimps and hustlers, they're more concerned
with their images and gestures than their professional careers. Cop
Phil (Kenny Suarez) persuades his skittish, vulnerable partner/lover
Hank (Jeremy Glazer) to go undercover on Cellblock 9 to get the goods
on tough mobster Lips (Matt Rimmer). Then one torrid kiss from Lips
turns Hank to jello, and leaves him wallowing in a hilarious orgy of
would-be submission, longing to be violated. Instead, Lips passes him
along to eccentric blond muscle-man and mob-boss Cody (Max Williams),
who keeps two minions on tap: naïve young Johnny (Josh Breeding), and
foppish pseudo-Frenchman Armand (Louis Douglas Jacobs). Despite the
pervasive haze of homoeroticism, Cody's more inclined to shoot them
than to fuck them. While director Pete Uribe has assembled a highly
attractive and accomplished cast, and deploys them with flair and wit,
ultimately the play seems like a comic sexual tease that never quite
delivers. (Neal Weaver) Lillian Theatre, 1076 Lillian Way, Hollywood;
in rotating rep through September 20; call theatre for schedule. (323)
960-4410.
18TH ANNUAL DENISE RAGAN WIESENMEYER ONE-ACT PLAY FESTIVAL Four new one-act plays: Cross Purposes by Frank Cossa, Bethany/Bakol by Wendy Graf, Lessons & Carols by Demetra Kareman, Jon and Mary Go to Pluto
by Matthew Tucker. The Attic Theatre and Film Center, 5429 W.
Washington Blvd., L.A.; Fri.-Sat., 8 p.m.; thru Oct. 3. (323) 525-0600.
FRIDAY NIGHT LIVE That's weekly sketch comedy done by some of the
best in the sketch biz. Acme Comedy Theatre, 135 N. La Brea Ave., L.A.;
Fri., 8 p.m.. (323) 525-0202.
NEW REVIEW GO F*CKING MEN
Photo by Michael Lamont
Ah,
the late 1980s, the halcyon days of male nudity, where the promise of
on stage gay promiscuity and frontal views were surefire ticket sellers
throughout the world of waiver – well those days are back in Joe
DiPietro's all-male rendition of Arthur Schnitzler's classic 1900 play
of sexual mores, La Ronde. Ten scenes pair two strangers becoming
intimate, with one of the duo moving on to the next scene until the
circle is completed. DiPietro keeps to his generally middle-of-the-road
style of dialogue (well known from oft produced Over the River and
Through the Woods and I Love You You're Perfect, Now Change) which
actually brings a subtle reality to the more sordid moments of gay
indiscretions. Director Calvin Remsberg has gathered a fine ensemble,
mostly perfectly cast from the nearly infantile, stoned sexiness of
college boy Kyle (Michael Rachlis) to the nervous, violent energy of GI
Steve (Johnny Kostrey). Only the fine Chad Borden is miscast as a
closeted action movie-star – his characterization is just so obviously
gay. Tom Buderwitz's scene design concept with moving screens and
furniture pieces is initially fascinating, but becomes quite clumsy and
distracting. However sound by Lindsay Jones, lighting by Jeremy Pivnick
and costumes by Daavid Hawkins are all sharp and collaborative.
Celebration Theatre, 7051-B Santa Monica Blvd., L.A.; Thurs.-Sat., 8
p.m.; Sun., 3 p.m.; thru Oct. 25. (323) 957-1884. (Tom Provenzano)
FUGGEDABOUTIT! Gordon Bressac, one of the great writing talents behind televisions iconoclastically brilliant Pinky and the Brainand Animaniacs,
has sadly lost touch with his stage roots from New York's La Mama, as
his West Coast premier as a theatrical auteur falls flat. His farce
follows 90 minutes in the life of Guy, a male fashion model (Shaw
Jones, excellent playing straight man to an assemblage of crazy
characters), who, after becoming a total amnesiac in an accident, is
surrounded by friends, lovers and a mafia hit-man, all trying to jog
his memory. The plodding story has each visitor taking Guy through an
important memory, which we witness through flashback. The characters
are appropriately two-dimensional for the comic format, but acting
choices are mostly weak cliches, particularly a gay couple (Charles M.
Howell IV and Christopher Le Crenn) stepping right out of Boys in the Band,
a pouty dumb blond (Jessica Rose) grasping for a Marilyn Monroe
impression, and a cookie cutter gangster (Arman Torosyan), who has more
in common with the gays than he wants to admit. The play is preceded by
a pointless curtain-opener, presenting a two-bit Noel Coward and
Gertude Lawrence type pair (Bressac and Mary Broderick) preparing for a
stage entrance. The most enjoyable part of the evening is Andrew
Murdock's ongoing audio montage of songs about memory. (Tom Provenzano)
Hudson Backstage Theatre, 6539 Santa Monica Blvd., Hollywood:
Fri.-Sat., 8 p.m.; Sun., 7 p.m.; thru Sept. 20. (323) 960-7753.
GETTING OUT Playwright Marsha Norman's best known play, 'night,
Mother, which won the Pulitzer Prize in 1983, was a grueling long
night's journey toward suicide. This earlier but equally grim work,
first produced in 1977, deals with the plight of a woman, Arlene (Leah
Verrill), who has been paroled after serving an 8-year prison for
robbery and manslaughter. All the cards are stacked against her: She
has a demanding, judgmental mother (Lonna Montrose), and a bullying
former lover, Carl (P.J. Marshall), who seeks to drag her back into her
old life. She's also haunted by Allie (Tracy Lane), her unregenerate
former self — a ferocious bundle of rage, malice, and resentment,
rooted in the fact that she was sexually molested by her father. Now,
Arlene has a child, taken from her when she was sent to prison, for
whom she seeks, despite the odds, to go straight. A sympathetic but
possessive prison guard, Bennie (director Andrew Hamrick), offers help,
but makes excessive demands. Only Ruby (Cheri Ann Johnson), the tough,
unsentimental ex-con who lives upstairs, serves as a mentor. Hamrick
has assembled an able cast, and melded them into a bleakly effective,
no frills production. (Neal Weaver) The Lyric Hyperion Theatre, 2106
Hyperion Avenue, L.A.; Fri.-Sat., 8 p.m., Sun., 7 p.m., thru Sept. 20.
Produced by From the Ground Up Theatre. (Some roles are double-cast.)
GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE There's wonderful
irony in the fact that, though Oscar Wilde's enemies succeeded in
branding him a sodomist, and sentencing him to two years hard labor,
they accidently conferred upon him a kind of posthumous glory, fame and
historical importance that he probably wouldn't have achieved
otherwise. Writer Moises Kaufman captures the tale's ironies and
complexities by taking an objective, documentary approach, and
constructing his play as a mosaic of primary sources: court records,
personal letters, autobiographies, memoirs, and newspaper accounts.
Susan Lee directs with brisk, efficient clarity, and Kerr Seth Lordygan
contributes a serviceable if slightly colorless portrait of Wilde.
Though Wilde's friend and lover, Lord Alfred “Bosie” Douglas, was an
obnoxious egotist, he must have had considerable charm and glamour to
have captured Wilde's love and loyalty, but Joshua Grant plays him as
charmless, petulant and prissy. Andrew Hagan is persuasive as Wilde's
nemesis, the malicious, paranoid Marquess of Queensbury, and Darrell
Philip and Dean Farrell Bruggeman score as the rival attorneys. The
notion of casting women (Casey Kramer, Allie Costa, Beth Ricketson, and
JC Henning) as Oscar's “rent boys” seemed initially perverse, but they
provide deft characterizations and sly comedy. (Neal Weaver) The
Eclectic Company Theatre, 5312 Laurel Canyon Boulevard, N. Hollywood;
Fri.-Sat., 8 p.m., Sun., 7 p.m., thru Oct. 11. (818) 508-3003.
NEW REVIEW GO THE GOLDEN GAYS
Photo by Chris Bisente
Even
non-fans of The Golden Girls will be amused by John Patrick Trapper's
uproarious play with music, which simultaneously spoofs the TV series
and the neuroses of aging gay men. Diagnosed with Sitcom Affective
Disorder by the unconventional Dr. Leche (Aaron Barerra), four gay men
turn to drag in order to work out their identification with characters
from The Golden Girls. Samuel (David Romano) identifies with the
acid-tongued tongued Sophia, mother of the imperious Dorothy, who's
impersonated by Damien (John W. McLaughlin). Promiscuous Blanche is
played by the equally promiscuous Blaine (John Downey III), and Roger
(Irwin Moskowitz) rounds out the quartet as the ditzy Rose. The plot is
secondary to the reprise of various scenes from the much-beloved TV
show. The uncredited costumes are hilarious, particularly Dr. Leche's
get ups, with additional kudos for dragographer ChaCha Cache. Trapper's
lyrics make the musical numbers equally hilarious, thanks in part to
musical director Robert Glen Decker. Lori J. Ness Quinn's over-the-top
direction matches perfectly with the outrageous material, which
includes lots of Bea Arthur jokes. The actors turn in superior
performances, with a special nod to McLaughlin's Dorothy. Cavern Club
Theater at Casita del Campo, 1920 Hyperion Ave., Silver Lake;
Thurs.-Sat., 9 p.m.; Sun., 7 p.m.; thru Oct. 10.
https://plays411.com/thegoldengays. (323) 969-2530. Wild Stance
Productions. (Sandra Ross)
GO GROUNDLINGS SPACE CAMP Just when you thought it
was safe to swear off laughing forever, the Groundlings have unleashed
another solid show. Under Mikey Day's direction, the best bits are
weighted toward the beginning: John Connor's sidekick meets his own
protective Terminator, an 18-inch dancing robot; two octogenarian '70s
sitcom stars radiate diva 'tude while fumbling through a commercial for
the AARP; and, my favorite, a post-championship rally for the Lakers
where a fan opens up to Kobe Bryant via the news, looking into the
camera and vowing, “You could make me learn to trust again.” Director
Day keeps things at a nice clip, staying on top of five funny improv
exercises, despite loud insistence from a tipsy audience member (who
wanted more of her suggestions used) that everyone else in the crowd
was a plant. In a uniformly good cast, Jeremy Rowley's Kobe obsessive
stands out, as do both ladies, Stephanie Courtney and Charlotte
Newhouse, the latter of whom braved an instantly-embarrassed
theatergoer's improv prompt that she speak “Asian.” (Amy Nicholson)
Groundlings Theater, 7307 Melrose Ave., L.A.; Fri., 8 p.m.; Sat., 8
& 10 p.m.; thru Oct. 3. (323) 934-9700.
HEYDRICH/HITLER/HOLOCAUST An apostle of the Holocaust and, with
Himmler, a chief engineer of the Final Solution, Reinhard Heydrich has
been depicted in numerous books and films. Assassinated in 1942, this
ambitious villain kept files on fellow Nazis as well as on suspected
enemies of the Reich – one reason, perhaps, for the persistent rumors
about his “Jewish blood.” Playwright Cornelius Schnauber has seized
upon this aspect of his biography to construct a muddled and
implausible play in which Heydrich (Oliver Finn) is portrayed
politicking around these insinuations. Another element in the
fantastical plot is this virulent anti-Semite's confrontational
dialectic with a Jewish maid named Anna (Jessica Sherman), who has
somehow maintained gainful employment at Nazi headquarters.
Spokesperson for humanity, Anna implores Heydrich to recognize that
Jews are human beings, promising to save his life if he helps rescue
some of them. (Heydrich's real-life brother actually did abandon Nazism
to help save some Jews, before committing suicide.) Later, Anna is
brought before Hitler (Don Paul, whose Fuehrer struck me as a deluded
insane asylum inmate) – whom she challenges with bravado, yet survives.
Stilted and declaimed with dreadful German accents, the play rolls out
like a cartoonish nightmare, with much dialogue devoted to airing Nazi
ideas, as if we didn't understand these already. Under L. Flint
Esquerra's direction, little attempt is made to get beyond posturing —
except for Sherman who, against tremendous odds, manages a credible
performance. (Deborah Klugman) MET Theatre, 1089 N. Oxford Ave., Hlywd;
Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Oct. 11; (323) 957-1152.
THE HIGH Teen-drama parody, “from OMG to LOL.”. ComedySportz, 733 Seward St., L.A.; Fri., 10:30 p.m.. (323) 871-1193.
HOW KATRINA PLAYS Judi Ann Mason's multimedia “docu-play” of
Hurricane Karina. Write Act Theater, 6128 Yucca St., L.A.; Thurs.-Sat.,
8 p.m.; thru Oct. 24, www.howkatrinaplays.org. (323) 469-3113.
I'M AN ACTOR, THEY DON'T GET IT Written and directed by Tiffany
Black, this two-hour production is supported by a talented cast and
just enough good writing and variety to make it enjoyable. The thirty
plus vignettes are all themed around the hardships, struggles and
triumphs of young thespians that come to Hollywood with a dream.
Black's writing is a matter of feast or famine. Some of the pieces are
bland and insipid, such as “Family Support,” where Danette Wilson
engages in a predictable phone conversation with a mother who isn't
crazy about her daughter's career choice, or “Coaches with Creds,”
where Tyler Lueck grouses on acting coaches. But the bulk of the
writing is sharp, witty and imaginative, and highlights the often
perilous, cutthroat road taken by those who want to make it in Tinsel
town. Kyoko Okazaki is a hoot as a sensuous ad lady in “Living
Headshot,” while Jasmine Hughes is equally impressive as a Jamaican gal
from a poor family with her own ideas about stardom in “Passport
Performer.” Some of the skits feature dancing, singing, and some nifty
tap dancing. Considering the small stage, Black does a remarkable job
marshaling the sizable cast. (Lovell Estell III) The Tre Stage Theater,
1523 N. La Brea Ave., L.A., Fri. 8 p.m., (perfs 6 & 8 p.m., Sept.
18) black.tiffany@gmail.com.
INFLUENCES OF THE SPIRIT Doug Jewell delivers a crackerjack
performance as a drug addict, Ambrose, in the grip of delusion. It's in
“Head Trip,” the first of two unevenly crafted one-acts by
playwright/co-director Albert Cowart, Jr. The play takes place in the
dilapidated living room of what had once been Ambrose's comfortable
middle-class home. Formerly a successful engineer, the volatile Ambrose
has long since lost everything, including his dignity, his job and his
wife (co-director Fatima Cortez-Todd), who left him after he mixed it
up with a streetwalking junkie. He now spends his miserable
beer-swilling days spewing venom at apparitions of his son and his
wife's lesbian lover, among others . Cowart's writing strengths are his
ear for dialogue and his believable characters; what's problematic are
the story's fuzzy details – for example, Ambrose's wife begs him to
sign an important paper but we're never told what it is. In “Crowded
Room,” two lovers on the edge of a breakup – Wanda (Kiana Tavasti) and
Marvin (Michael Anderson) — are torn between their inner voices
(Shondalyn Harris and Otis A. Harris) pushing them to reconcile, and
opposing ones (Tanisha Livingston and Tony Paul) urging them apart.
It's an amusing premise that spawns a fractious, sometimes noisy,
emotional encounter – and while that's sometimes funny – especially
Paul as Martin's indignant chauvinist self — it's also too long and
too generic. More details about the characters' past relationship would
have made the play more involving. (Deborah Klugman) Village Theater in
Lucy Florence, 3351 W. 43rd St., L.A.; Fri.-Sat., 8 p.m.; Sun., 4 p.m.
(no perfs Labor Day weekend); thru Sept. 20. (323) 293-1356.
GO KILL ME DEADLY Few literary figures seem as
blatantly ripe for satire as the gumshoe detective. Playwright Bill
Robens ably answers the call, with an entertaining spoof about an
obtuse private dick named Charlie Nichols (Dean Lemont) and his
obsession for a witless scarlet-clad siren named Mona (Kirsten
Vangsness). Called in to forestall the murder of a wealthy dowager,
Lady Clairmont (the comically skillful Kathleen Mary Carthy), he's soon
embroiled with the usual parade of tough-guy gangsters, dumb cops and
seductive debutantes. Obstacles confront Charlie everywhere ― his
client soon ends up dead ― but none prove as treacherous as his buxom,
doe-eyed lady love, whose predilection for homicide he myopically
ignores. Savvily staged by director Kiff Scholl (with fight
choreography by Caleb Terray and videography by Darrett Sanders), the
script successfully parodies the genre's multiple clichés and evocative
parlance, even as it lacks the razor-sharp edge of a top-notch farce.
(The show goes on a bit too long.) Still the adroit supporting ensemble
makes the most of the piece's convoluted subplots ― among them Nicholas
S. Williams as Lady Clairmont's effete son Clive, Phinneas Kiyomura as
an eyewitness to her murder and Ezra Buzzington as her suspiciously
implicated butler. As the hero, Lemont demonstrates facileness. With
her pouty lips and batting eyelids, Vangsness' outrageous Mona becomes
the show's star. (DK) Theatre of NOTE, 1517 N. Cahuenga Blvd.,
Hollywood; Thurs.-Sat., 8 p.m.; Sun., 2 & 7 p.m.; through Oct. 3.
(323) 856-8611.
GO LIFE COULD BE A DREAM This affectionate doo-wop juke-box musical by writer-director Roger Bean (The Marvelous Wonderettes),
with clever choreography by Lee Martino, handsome set by Tom Buderwitz,
and spectacular lighting by Luke Moyer, is designed to incorporate hit
songs of the 1960s, ranging from the goofy “Sh Boom” and “Rama Lama
Ding Dong” to anthems like “Earth Angel,” “Unchained Melody,” “The
Great Pretender,” and “The Glory of Love.” In small-town Springfield,
the local radio station is sponsoring a rock-and-roll contest, and
go-getter Denny (Daniel Tatar) is convinced he can win and become a
star. He enlists his klutzy, nerdish, endearing friend Eugene (Jim
Holdridge) and church-choir singer Wally (Ryan Castellino) to join him.
Needing a sponsor to provide the $50 entrance fee for the contest, they
apply to the proprietor of the local auto chain. He sends his top
mechanic, handsome, hunky Skip (Doug Carpenter), and his pretty
daughter Lois (Jessica Keenan Wynn), to audition the guys, and by the
end they're incorporated in the new group, Denny and the Dreamers. This
is pure fluff, and the terrific ensemble makes every note count in this
rousing good-time musical. (Neal Weaver) Hudson Mainstage Theatre, 6539
Santa Monica Boulevard, Hollywood; Thurs.-Fri., 8 p.m., Sat., 3 & 8
p.m., and Sun., 3 p.m.; thru Oct. 25. (323) 960-4412.
LIQUID Directed and designed by Chris Covics, Brenda Varda's farce
benefits from superb technical arrangements. From Susannah Mitchell's
original costumes to Paul Bertin's sound design, the artistry of this
production is clearly on display. Most particularly, Perry Hoberman's
video and visuals are creatively delightful–and downright scary in
other places. Covics' over-the-top direction is well-suited to the
material, but not all the actors are up to the task at hand. A bigger
problem is the writing: Varda's winsome ecological fable is undercut by
stilted dialogue. The plot concerns a scientist, Nevah (Daniella
Dahmen), who is looking to save the planet the planet from global
warming through the creation of CO2 eating algae. Nevah is set to marry
Odam (Kyle Ingleman), but the terrorist Chaet (Craig Johnson)
interrupts the ceremony, intent on stealing the scientific formula.
He's thwarted when a tsunami hits the island. Nevah, Odam and Chaet
survive the tsunami, but wash up in different places. These vignettes
take them from an island made of trash to an oil rig to a pirate ship
to a floating retirement home filled with cannibals. Varda takes
potshots at multinational corporations, oil companies and refuse
disposal, but much of the writing seems off-the-cuff. Shirley Anderson
puts in a nice turn as a designer healer for tourists who becomes a
blind seer, and Bruce Adel shines in several different roles. (Sandra
Ross) Unknown Theater, 1110 N. Seward St., Hollywood; Thurs.-Sat., 8
p.m.; Sun., 6 p.m.; thru Oct. 4. (323) 466-7781.
LITTLE SHOP OF HORRORS Hard-core, exploitation-cinema auteurists have
probably still not forgiven Howard Ashman (book & lyrics) or Alan
Menken (score) for their 1982 musical burlesque of Roger Corman's
immortal, low-budget horror allegory about the moral price of success.
And, judging by director Jaz Davison's somewhat awkward staging on John
Paul De Leonardis' clumsy, turnstile set, final absolution won't be
forthcoming. By transforming Seymour (Mark Petrie), the green-thumbed
shop assistant at Mushnik's Skid Row Florists, from the serial-killing
schnook of the Corman original to merely a passive-aggressive
facilitator of the botanical puppet monster Audrey II (the voice of
Pamela Taylor) and her homicidal appetites, Ashman blunts Corman's edgy
black comedy into a kind of anodyne Merry Melody. Of course, it is
precisely Menken's melodies — his crowd-pleasing takeoffs of doo-wop
and early Motown rock classics — that have always been this show's
irresistible soul, and under Debbie Lawrence's capable music direction,
that remains the case here. Leslie Duke, as Seymour's Brooklyn-honking
love interest, Audrey, elevates every number she sings, particularly in
her sweetly funny rendition of “Somewhere That's Green” and her soulful
turn in the duet, “Suddenly, Seymour.” Taylor rocks the house with her
rousing Audrey II solo, “Mean Green Mother.” But the production's
outstanding pipes belong to vocal powerhouse Cloie Wyatt Taylor, whose
incandescent gospel stylings are all but wasted in the supporting,
choral role of Chiffon. (Bill Raden) Knightsbridge Theater, 1944
Riverside Dr., L.A.; Sat., 8 p.m.; Sun., 6 p.m.; thru Oct. 11. (323)
667-0955.
LOST IN RADIOLAND World premiere of Ryan Paul James and Denny
Siegel's 1940s-era comedy. Theatre 68, 5419 Sunset Blvd., L.A.;
Fri.-Sat., 8 p.m.; thru Oct. 17. (323) 467-6688.
MANish BOY Writer-actor-comedian Ralph Harris is a clever writer,
and a very funny man. His eloquent and affectionate portrait of his
feisty 94-year-old grandfather is a comic gem, strongly rooted in
reality: This is not merely stand-up comedy, but fine, richly detailed
acting through which he conjures his African-American family. He also
presents sketches of his “devil dad” father, and a drug-saturated
uncle. But there's a dis-connect between his individual sketches, and
the framing device he chose. He begins his tale with a phone call from
a girl-friend of 20 years ago, informing him that she thinks her son is
his child. She wants him to come back to Philadelphia to take a DNA
test. He must face the possibility that he has a 20-year-old son. He
returns to South Philly, and his mother's basement, where he dredges up
memories of his past. The possible son is a red herring, not
organically connected to his other stories, so the performance seems
contrived. This is unfortunate because, though his best material is
really wonderful, the shape of this production, broken up by many
unnecessary blackouts, is awkward and distracting. Director Mark E.
Swinton serves Harris well when he leaves him free to perform his
character portraits, but he allows too many distractions to impede the
flow. (Neal Weaver) Stella Adler Theatre, 6773 Hollywood Boulevard,
Hollywood; Wed., 8 p.m.; thru Oct. 7. (323) 960-1056 or
www.plays411.com/manishboy.
MANUSCRIPT Paul Grellong's 2005 play is impossible to describe
without ruining its many intricate plot turns. Let's just say it
involves three recent Ivy League college chums settling into a party in
a Brooklyn Heights home owned by the family of Harvard student, David
(Adam Shapiro). At the start, childhood friends David and Chris
(Patrick J. Adams) appear jittery over the visit of Chris' new
girlfriend, Elizabeth (Katharine Brandt). But nothing in this play is
what it seems. (Steven Leigh Morris) Elephant Theatre, 6322 Santa
Monica Blvd., Hollywood; Thurs.-Sat., 8 p.m.; through October 3. (323)
960-5774. Tall Blonde Productions and Elephant Stageworks.
GO POINT BREAK LIVE! Jaime Keeling's merciless
skewering of the 1991 hyper-action flick starring Keanu Reeves and Gary
Busey is loaded with laughs, as well as surprises, like picking an
audience member to play Reeves' role of Special Agent Johnny Utah. It's
damn good fun, cleverly staged by directors Eve Hars, Thomas Blake and
George Spielvogel. (LE3). Dragonfly, 6510 Santa Monica Blvd., L.A.;
Fri., 8:30 p.m.; Sat., 8 p.m.. (866) 811-4111.
NEW REVIEW RUBY, TRAGICALLY ROTUND
Photo by Ed Krieger
The
theater-in-the-round set for Boni B. Alvarez's dramedy about a Filipina
college student named Ruby (Ellen D. Williams, in a great performance)
puts its actress on a center pedestal and encourages the audience to
take in a 360-degree view of a self-described “fat girl” as she tries
to wriggle into her tightest jeans. Director Jon Lawrence Rivera
confronts the audience head on with Williams' weight: She strips,
straddles her boyfriend (Kacy-Earl David) and above all, stands with
confidence, daring us to deny her sex appeal – and it's hard to deny
when she struts her vamp walk. Her mother Edwina (Fran De Leon),
however, disagrees. A former Miss Manila, she'd rather hide Ruby away
like a fairy tale beast while she presses her more timid daughter
Jemmalyn (Marc Pelina) to practice around the clock for first prize in
the Miss Sunnyvale pageant. Backed by her sassy chorus of junk
food-loving friends (Angel Felix, Alison M. De La Cruz, and Regan
Carrington), Ruby vows to take the crown herself, even if her imposed
group diet turns her posse into the Lord of the Fries. Alvarez's play
has an up-with-Ruby cheer that undermines its call for equality and
empowerment: Ruby's quest for the crown reveals her care only about the
swimsuit, not the talent or the interview, and Jemmalyn's legit
argument that she alone has put in the effort to win gets dismissed by
the playwright as being petulant. A subplot where Edwina betrays her
husband Jepoy (Robert Almodovar) with wealthy white neighbor Kline
(Mark Doerr) hints that beautiful women are limited by their reliance
on looks, but largely seems designed only to give the gorgeous villain
more stage time. Alvarez and Rivera's climax obliges in a Grand Guignol
finale that turns this into a play about child abuse, not fat pride.
Though riveting and well-acted, the alternately chipper and dark play
feels as bipolar as the undiagnosed Edwina herself. Los Angeles Theater
Center, 514 S. Spring St., L.A.; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.;
thru Oct. 11. (213) 489-0994. A Playwrights Arena production (Amy
Nicholson)
SAY GOODBYE TOTO Sometimes it just doesn't pay to tinker with a
literary classic. Such is the case with Amy Heidish's reimagining of
the Wizard of Oz. Heidish places Toto at the center of the narrative,
and this dubious conceit wears thin early on. Joseph Porter does the
honors as Dorothy's panting, barking traveling companion, and after the
pair is transported via tornado to Oz, the canine is inexplicably
mistaken for a sorcerer. Accompanying Dorothy (the fine Renee Scott) on
her way to the Emerald City is a mysterious cat (Tracy Ellott), plus of
course the Scarecrow (Mike Fallon), the cowardly lion (Andreas
Ramacho), and Tin Man (Grant Mahnken) who, in Heidish's version, are
all cursed brothers hoping that face time with the wizard can get them
zapped back into human form. The most engaging moments come by way of
the Wizard (Jake Elsas), whose magical manipulation of several hand
puppets behind a screen is very funny. Alice Ensor does a dazzling job
as the good witch, but this doesn't redeem a script with a tension that
dribbles away. And Jamie Virostko's bland direction doesn't help.
(Lovell Estell III) The Hayworth Theatre, 2511 Wilshire Blvd.; L.A.,
Fri.-Sat., 8 p.m., Sun. 7 p.m., thru Sept. 19. (323) 969-1707. An Ark
Theatre Company production
SCHOOL FOR SUCKERS Real life stuns 20-somethings, by Sascha
Alexander, John Dardenne, Ben Giroux, James Robinson and Juliana Tyson.
Lillian Theatre, 1076 Lillian Way, L.A.; Tues.-Wed., 8 p.m.; thru Sept.
30. (323) 960-7822.
7 DEADLY SINS Chris Berube's interwoven vignettes. Next Stage
Theater, 1523 N. La Brea Ave., Second Floor, L.A.; Tues., 9:30 p.m.;
thru Sept. 29. (323) 850-7827.
SEX, RELATIONSHIPS, AND SOMETIMES … LOVE Monologues on all of the
above, by Joelle Arqueros. Actor's Playpen, 1514 N. Gardner St., L.A.;
Sat.-Sun., 7 & 9 p.m.; thru Sept. 27. (310) 226-6148.
NEW REVIEW SOMEONE'S SOMEBODY
Photo by Fritz Davis
Regina
Louise's monodrama centers on her role as a black child in search of a
family. She was abandoned by both her mother and father. Over the
years she was sent to more than 30 foster homes, most of which she
fled. A counselor in a children's home where she was sent loved her and
wanted to adopt her — but the authorities forbid it, since the
counselor was white, and they insisted that she needed a black
upbringing. She desperately wanted to be with someone who cared about
her, but that didn't concern the bureaucrats. It's a fascinating
rags-to-riches tale (she eventually wrote and sold a successful
autobiography), but there's something slightly schizophrenic about the
way she tells it. She talks about her utter powerlessness to control
her own destiny, yet she emerges as a highly confident, competent, and
savvy young woman. Would be nice to know how she got there. She tells
us she has a son, but we never learn the circumstances of his birth, or
the identity of the father. Louise is a deft writer-actor and singer
who threads songs through her narrative. But I kept ruminating on the
story's crucial aspects that she left out. Lee Sankowich directs. The
Zephyr Theatre, 7456 Melrose Avenue, Los Angeles; Fri.-Sat., 8 p.m.;
Sun., 2 p.m.; thru Oct. 5. (323) 960-7738 or
http:/plays411.com/someone'ssomebody” (Neal Weaver)
GO STOP KISS Manhattan traffic newscaster Callie
(Deborah Puette) meets Sara (Kristina Harrison) the week the young
blonde schoolteacher arrives in the city. Both have always identified
themselves as straight: Callie's got her friend-with-benefits George
(Christan Anderson), who she assumes she'll marry once they both stop
trying to find someone better, and Sara has just left her boyfriend of
seven years, Peter (Justin Okin), behind in St. Louis in her quest to
find a bigger, harder, more worthwhile life. The two women gradually
become best friends, deliciously tormented by their quiet hints that
they both want a more physical relationship. But no sooner do they
stick a tentative foot out of the closet than they're pushed out in the
worst possible way — as a news story about a violent bigot who puts
Sara in a coma. Diana Son's time-jumping play about coping with the
unexpected skips from their first meeting to Callie's first sitdown
with the investigating cop (Jeorge Watson); we're rooting for the
couple to get together under the shadow of the consequences. But Son's
equal emphasis on romance makes the play looser and more inviting than
a social problem drama, and the question isn't about the source of
hate, but the depth of Callie's love when Peter announces that Sara's
family wants to move her hospital bed back to Missouri. Under Elina de
Santos and Matthew Elkin's direction, the ensemble opening night was
still a little stiff, but Puette's tender performance captures a
haphazard woman realizing that she's finally sure of at least one
thing. (Amy Nicholson) Theatre/Theater, 5041 Pico Blvd., L.A.;
Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; thru Sept. 20.
www.roguemachinetheatre.com. (323) 960-7774. A Rogue Machine production
SUNDAY OF THE DEAD All-new sketch and improv by the Sunday Company.
Groundling Theater, 7307 Melrose Ave., L.A.; Sun., 7:30 p.m.. (323)
934-9700.
THE TOMORROW SHOW Late-night variety show created by Craig Anton,
Ron Lynch and Brendon Small. Steve Allen Theater, at the Center for
Inquiry-West, 4773 Hollywood Blvd., L.A.; Sat., midnight. (323)
960-7785.
NEW REVIEW THY KINGDOM COME In his theatrical debut,
playwright Jarad Sanchez explores a little known corner of Mexican
history, dramatizing how the inhabitants of the village of Yanga
overthrew their colonial masters and became the first free town in the
Americas. While the African slave Yanga (Joel Virgil), for whom the
town was named, primarily orchestrated the battle against Spain, a
fierce Aztec slave named Santiago (Ryan De Mesa) becomes the focus of
the play's action when he is forced to care for the infant of a
colonial master who is killed during a revolt. Despite the rich source
material, and the important story, the heavy-handed exposition and the
lack of depth in both the dialogue and character relationships fail to
mask the fact that Sanchez initially wrote this for the screen.
Elizabeth Otero's direction similarly doesn't theatricalize the
material effectively, with her brisk pacing of the short scenes leaving
one hungry for higher stakes and fuller character exploration, as well
as greater use of nonverbal nuance. Tony Carranza's costumes, however,
are both aesthetically appealing and appear historically accurate. As
always, CASA 0101 fulfills an important role in the community and
should be applauded for presenting a story that, with some adjustments,
has the potential to powerfully dramatize the intersection of African
and Latino colonial history. CASA 0101, 2009 E. First St., East L.A.;
Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru October 4. (323) 263-7684.
(Mayank Keshaviah)
YO, LA PUTA Written and directed by Emanuel Loarca. Frida Kahlo
Theater, 2332 W. Fourth St., L.A.; Fri.-Sat., 8 p.m.; Sun., 6 p.m.;
thru Sept. 20. (213) 382-8133.
CONTINUING PERFORMANCES IN SMALLER THEATERS SITUATED IN THE VALLEYS
CHILDREN OF A LESSER GOD Mark Medoff's story of a romance between a
deaf student and her teacher. Deaf West Theatre, 5112 Lankershim Blvd.,
North Hollywood; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; thru Oct. 11. (866)
811-4111.
NEW REVIEW GO THE CROSSING
Photo courtesy of SST Productions
Whatever
might be meant by a “Scottish national voice,” say something between
the Romantic lyricism of Robert Burns and the sentimental whimsy of
filmmaker Bill Forsyth, writer-performer Rachel Ogilvy certainly speaks
it fluently. Her hour-long, first-person, dramatic monologue fairly
bristles with the saccharine-dipped eccentrics and evocative local
colors of her story's Edinburgh setting. Chiefly, though, it echoes in
the melodious burr of her hard-nosed, high-strung heroine, Rose. A
young, substitute math instructor who finds herself thrust into the
stress-torquing environs of a new job among hostile, teacher-eating
14-year-olds, Rose is not what one would call a “people person.” Blame
a severe, emotionally distant mother and the childhood trauma of her
loving, half-remembered father's mysterious suicide, which has left her
a haunted, withdrawn outsider primed for a nervous breakdown. Rather
than heading for the nearest psychoanalyst's couch, Rose embarks on the
somewhat quixotic pursuit of winning over her disinterested students by
turning to her late father's obsession for the Golden Gate Bridge as
the centerpiece of an elaborate lesson plan in analytic geometry. The
effort quickly turns into a harrowing journey of relived memories that
takes her to Edinburgh's Forth Rail Bridge — the site of her father's
fatal leap and a perilous emotional precipice of unresolved guilt which
she must cross to survive. Ogilvy uplifts her potentially weighty tale
with brittle humor and a sweetly affective performance in a production
benefited by Paul Christie's fluid, economical direction. Sidewalk
Studio Theatre, 4150 Riverside Dr., Burbank; Fri.-Sat., 8 p.m.; (added
perfs Thurs., Sept. 17 & 24, 8 p.m.; Sun., Sept. 20 & 27, 2
p.m.); thru Oct. 3. (818) 558-5702. (Bill Raden)
DIARY OF A CATHOLIC SCHOOL DROPOUT Layon Gray's profile of a young
woman contemplating suicide. Whitmore-Lindley Theatre Center, 11006
Magnolia Blvd., North Hollywood; Sun., 5 p.m.; thru Sept. 27,
layongray.ticketleap.com. (818) 761-0704.
FOLLOW YOUR DREAMS World-premiere play with music by Laurie Stevens
and Ronald Jacobs. Secret Rose Theater, 11246 Magnolia Blvd., North
Hollywood; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; thru Oct. 31. (877)
620-7673.
NEW REVIEW GO FRIENDS LIKE THESE
Photo courtesy of Theatre Unleashed
Playwright
Gregory Crafts' drama is billed as a show about teen violence,
conjuring up images of gangs with guns or distraught loners firing
wildly into a crowd of peers. In fact, while the latter event
eventually finds its way into Crafts' story, that's not its central
focus.Instead, the play is mostly about some of the pernicious perils
of adolescence – specifically the targeting of geeks by jocks, and the
painful experience of the outcast in a teen community worshipful of its
own rigid standard of “coolness.” At the heart of the plot is the
blossoming friendship between Garrett (Matthew Scott Montgomery), a
sullen geeky kid, and Nicole (Sarah Smick), a pretty cheerleader who's
just called it quits with her boyfriend Jesse (Alex Yee). Disgusted
with Jesse's arrogance and infidelity, Nicole finds herself drawn in by
Garrett's candidness and unassuming manner. To the surprise of all,
and the chagrin of some, their relationship blooms. Especially
disturbed are Jesse – stunned that Garrett has become his rival, and
Diz (Sari Sanchez), Garrett's former girl chum, who believes him to be
her soul mate and now seethes with jealousy. Understated from the top,
Montgomery's performance deepens and expands as his character gradually
undergoes changes. Smick is likewise layered and sympathetic, and
Sanchez plays her one note role exceptionally well. Yee and Ryan J.
Hill as everyone's buddy are also effective. Designer Andrew Moore's
visually grating and incongruent backdrop needs rethinking. Sean
Fitzgerald and Vance Roi Reyes co-direct. The Sherry Theatre, 11052
Magnolia Blvd., N. Hlywd.; Fri.-Sat., 8 p.m.; thru Oct. 17. (818)
849-4039. A Theatre Unleashed production. (Deborah Klugman)
THE IMPORTANCE OF BEING EARNEST Koni McCurdy gives a fierce
performance as Lady Bracknell, under Patricia Wylie's functional
direction of Oscar Wilde's comedy. Otherwise, the play is pretty limp.
There were a number of stepped-on lines the night this critic attended.
A bigger problem is Jason Perlman's overly rapid delivery as Algernon
— many of Wilde's best lines are so rushed, the audience has no time
to react. Brent Hamilton and Betsy Rice make a serviceable pair of
lovers as Jack and Gwendolyn. However, the accents are all over the
place, particularly from Betsy Reisz who has difficulty pulling off the
role of well-bred Cecily — the object of Algernon's affection. Wilde
might be spinning in his grave, but the essential comedy is still
amusing. The plot concerns two gentlemen who both call themselves
Earnest, and a comedy of mistaken identities ensues. Osa Danam brings
some charm as the befuddled governess Miss Prism, but McCurdy's
performance deserves special praise because it offers a slightly
vicious twist on Lady Bracknell. Jeri Deiotte's costumes are fine, and
Victoria Profitt's practical set design eases the transitions between
scenes. (Sandra Ross) Sierra Madre Playhouse, 87 W. Sierra Madre Blvd.,
Sierra Madre; Fri.-Sat., 8 p.m.; Sun., 2:30 p.m.; no perf Sun.,. Aug.
16; thru Sept. 26. (626) 256-3809.
NEW REVIEW GO THE MATCHMAKER
Photo by Amanda Troop
When
playwright Thornton Wilder lifted the character Frosine from Molière's
The Miser, and transplanted her in his adaptation of a 19th Century
Viennese farce by Johan Nestroy, he can't have realized that he was
launching her as one of the most enduringly popular characters in 20th
Century American theatre. Renamed Dolly Gallagher Levi, she became the
formidable protagonist of both The Matchmaker and the Jerry Herman
musical version, Hello, Dolly! The play remains a delicious piece of
faux Americana, which doesn't need the songs to be a zany theatrical
warhorse. Dolly (Amanda Carlin) is playing matchmaker for wealthy
Yonkers merchant Horace Vandergelder (James Gleason), but she's
actually out to capture him for herself. When Horace heads for
Manhattan to woo widowed Mrs. Molloy (Alyss Henderson), his two clerks,
Cornelius (Patrick Rafferty) and Barnaby (Colin Thomas Jennings), take
advantage of his absence to run off for a Manhattan adventure of their
own. Comic confusions, mistaken identities, and multiple romances
result. Director Dave Florek's production is sturdy rather than
brilliant, but he elicits plenty of charm from his large, engaging
cast. Particularly noteworthy are Don Fischer and James Greene in
goofy featured roles. Jeff McLaughlin's sets and Sherry Linnell's
costumes capture the period flavor. The Victory Theatre Center, 3326
West Victory Boulevard, Burbank; Fri.-Sat., 8 p.m., Sun., 4 p.m., thru
Oct. 18. Produced by Interact Theatre Company. (818) 765-8732. (Neal
Weaver)
A MIDSUMMER NIGHT'S DREAM Outdoor Shakespeare by the Crown City
Theatre Company. Descanso Gardens, 1418 Descanso Dr., La Canada
Flintridge; Through Sept. 20, 6 p.m.. (818) 949-4200.
PULP GRAVEYARD Theatre Unleashed takes on “comic books, pulp fiction
and dime-store novels,” old-time live radio drama style. Sherry
Theatre, 11052 Magnolia Blvd., North Hollywood; Sat., 10:30 p.m.; thru
Oct. 17, www.theatreunleashed.com…
REP*A*TROIS Three plays in rotating rep: Heroes by Gerard Sibleyras, Painting Churches by Tina Howe, and Boston Marriage
by David Mamet. (Call for schedule.). Lonny Chapman Group Repertory
Theatre, 10900 Burbank Blvd., North Hollywood; Thurs.-Sun..; thru Nov.
7. (818) 700-4878.
SCARECROW Don Nigro's psychological thriller. Avery Schreiber
Theater, 11050 Magnolia Blvd., North Hollywood; Fri.-Sat., 8 p.m.; thru
Oct. 17. (818) 766-9100.
UNDERGROUND WOMAN Delia Donovan's hippie-turned-curmudgeon comedy.
Theatre Unlimited, 10943 Camarillo Ave., North Hollywood; Fri.-Sat., 8
p.m.; Sun., 7 p.m.; thru Oct. 18. (818) 238-0501.
CONTINUING PERFORMANCES IN SMALLER THEATERS SITUATED ON THE WESTSIDE AND IN BEACH TOWNS
CINDERELLA THE MUSICAL I attended writer-director Chris De Carlo
& Evelyn Rudie's musical adaptation of the timeless fairy tale with
my 9-year-old niece, Rachel. We found ourselves joined by a birthday
party of kids who appeared to be around 6, though there was a
smattering of infants and adults. These kids were obviously smitten
with the broad comedic antics of the stepsisters (Celeste Akiki and
Billie Dawn Greenblatt) and their mom (Serena Dolinksy, doubling, in a
rare, high-concept moment of intended irony, as Cinderella's Fairy
Godmother). The actors' goggle-eyed expressions and broad-as-a-barn
reactions generated screams of laughter from the kids, who were also
riveted by the songs (ranging in style from pop ballads to Gilbert and
Sullivan parodies). This production has been chugging on and off for 25
years now. Actor John Waroff has dedicated a quarter century of his
adult life strutting the boards as King Isgood, so points scored for
perseverance, which is more than can be said for Rachel, who promised
to write this review and then left it to me. Can't not mention Ashley
Hayes' lush costumes, nor the tinny sound design that left the singers
marooned. Rachel said she really liked the stepsisters and Cinderella
(Melissa Gentry) but wished somebody had been more cruel, as in the
story. Everybody here was just so nice, and Rachel was aching for
something meaner or weirder. I concur. Rachel also said some unkind
things about some of the performances, but if she wants those aired,
she can write a review herself. (SLM) Santa Monica Playhouse, 1211
Fourth St., Santa Monica; Sat.-Sun., noon & 3 p.m.; through
December 27. (310) 394-9779.
THE NEED TO KNOW April Fitzsimmons' journey from military recruit to
peace activist. Actors' Gang at the Ivy Substation Theater, 9070 Venice
Blvd., Culver City; Thurs., 8 p.m.; Sat., 2 p.m.; thru Oct. 24. (310)
838-4264.
THE NERD Larry Shue's comedy about a nerd. Theater Palisades'
Pierson Playhouse, 941 Temescal Canyon Road, Pacific Palisades;
Fri.-Sat., 8 p.m.; Sun., 2 p.m.; thru Oct. 11. (310) 454-1970.
THE RECEPTIONIST If there is a premise behind playwright Adam Bock's
superficial political satire, it might be the notion that even Adolf
Eichmann had a beloved mother, and, no doubt, an efficient receptionist
too. It is in the latter's domain of a generic, office waiting room (in
Chris Covics' appropriately bland-moderne set) that Bock places his
comic cautionary study in the mindless, bureaucratic surrender of moral
judgment to the dictates of duty ― what Hannah Arendt meant by “the
banality of evil.” And there are few duties more banal than Beverly
Wilkins' (Megan Mullally of NBC's Will & Grace). Holding
down the front desk of the innocuous-sounding “Northeast Office,” the
veteran employee sorts the mail, makes the coffee and screens the
incoming calls for her harried boss, Mr. Raymond (Jeff Perry), at least
when she isn't gossiping on the phone or giving relationship advice to
Mr. Raymond's flighty, love-hungry assistant, Lorraine (Jennifer
Finnigan). It is only with the surprise visit of the Central Office's
affable Martin Dart (Chris L. McKenna) and Mr. Raymond's inexplicable
absence that Beverly's comfortable routine begins to unravel and the
horrific nature of the Northeast Office's “services” is finally brought
to light. Though Mullally nails the officious manner and mercurial
pettiness of the practiced office functionary, Bart DeLorenzo's
detail-mired direction ultimately proves unable to bridge the
miscalculated disconnect between Bock's cobweb-thin characterizations
and the discordant heft of his message. Odyssey Theatre, 2055 S.
Sepulveda Blvd., W.L.A.; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; thru Nov.
21. (310) 477-2055. (Bill Raden) An Evidence Room/Odyssey Theatre
Ensemble production.
THREE SISTERS Anton Chekhov's provincial Russian tale. Odyssey
Theatre, 2055 S. Sepulveda Blvd., L.A.; Thurs.-Sat., 8 p.m.; Sun., 2
p.m.; thru Oct. 31. (310) 477-2055.
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