THE PLAYER KING ...in Hollywood

This is a one man show but actually, under the spell of playwright-performer Darin Dahms, there are three distinct men on stage, all fully realized and all fascinating. The action takes us back to the mid-19^th century, where we meet the three significant members of the historic Booth family.

Junius Brutus Booth

There is Junius Brutus Booth, the patriarch, a man possessed by demons, with an equal passion for the soliloquies of Shakespeare and the numbing magic of liquor. As the events we are all too aware of unfold, his parental mantra “an actor must act!” takes on a deeper significance, as does his fatherly advice to his actor sons, “always wear your spurs.”

Edwin Booth

 The sane member of this trio, Edwin Booth, is a gentle man forced into acting, and struggling for years, until he is hailed as the greatest American actor of his century. The sacrifices he has to make for this itinerant career are poignantly revealed by the loss of his young wife while he strides a distant public stage.

John Wilkes Booth

Then there is the younger brother, hothead playboy, John Wilkes, boasting he will be the most famous actor of all time, and succeeding with the act that changed history: the assassination of Lincoln. We accompany John Wilkes step by step through the Ford Theatre to the president’s private box. Taking his father’s advice literally, he wears his spurs, which become his undoing when, leaping to the stage, they catch on the flag and he breaks his ankle. Dahms knows the psychology of actors and his revelation on John Wilkes’ motivation, petty grievance turned into megalomania, rang true in this setting even though historians prefer a conspiracy claim.

Dahms’ boldly weaves in Shakespeare’s words, and most famous soliloquies, to illustrate the dramatic action and spiritual changes throughout. Brilliantly written and performed, this is a must-see for lovers of Shakespeare and students of history.

At the MET Theatre, downstairs, 1089 N. Oxford Ave., Hollywood (at Western Ave. & Santa Monica Blvd.), through Nov. 2. Fri. & Sat. at 8 p.m.
RESERVATIONS: (800) 838-3006. or: www.brownpapertickets.com/event/464197

GALLERY SECRETS … at the Natural History Museum of Los Angeles

"A Vast Hoard" by Tom Jacobson
Directed by Janet Hayatshahi

In this intriguing show, it’s after hours at the Museum and the audience is led through darkened hallways to various galleries. In the 1913 Rotunda we are drawn back in time to where the Museum director is pleading for art works that now hang before us. 

"Skins and Bones" by Ruth McKee
Directed by Andrew Borba

A young gal then escorts us into the 1929 African Dioramas Hall where we witness a shy young couple, who work together on the bones collection, falling in love. 

"Under the Glass" by Zakiyyah Alexander
Directed by Jeff Wienckowski

Then, a giddy young man beckons us to follow him into the Gem and Mineral Hall where, in 1978, a sophisticated museum donor and his vivacious wife are facing a life and death crisis. 

 

This is interrupted by some scantily clad young

"Prom Season" by Boni B. Alvarez
Directed by Jennifer Chang

ladies who invite us to their prom in the Dinosaur Hall. Once there we see and hear a modern female guard give sensible warning to a young woman who seems bent on ruining her life with a seedy lothario.

These four plays were written and directed by local talents specifically for these locations. All of the performers were excellent but among the large cast I especially favored Blaire Chandler, Tony Amendola, Frank Daggett, Rod Menzies, Amy Ellenberger, Melinda Bielefelt, Joel J. Gelman, Katherine Sigismund, Marie Ponce, Angel Star Felix and Justin Huen.

Chalk Rep specializes in performing plays in unconventional spaces around Los Angeles County. In the Museum, each play is inspired by an assigned gallery, and set in the time period when that gallery was built, covering 100 years of history, architecture and exhibits.

At the Natural History Museum of Los Angeles County, 900 Exposition Blvd. at Vermont, through Oct. 13. For Chalk Rep call 323-379-9583 or www.ChalkRep.com  For tickets call the Museum at 213-763-3499 or www.NHM.ORG/calendar.

THE BELLS OF WEST 87th ...in Hollywood

The family feast on fake turkey!

 A young woman is managing a Manhattan apartment building while desperately trying to keep peace between her eccentric parents, now living next door to each other in the same building. Although they are separated, the wife is keeping an eye (or ear) on him through a series of bells that signal his wanderings through his rooms. However, he is quite happy alone, pursuing his dream of a career as an illusionist. Into this wacky mix the daughter brings her new beau, who she met in art class and, to her dismay, he finds her nutty family utterly charming. 

As do we, I might add.

Molly, Ida and Chris

Cameron Meyer, as the frustrated Molly, perfectly captures her lack of self-confidence, and James Marsters, as her boyfriend Chris, is delightfully nerdy and sweet. However it is Carol Locatell as Ida, the hyper-critical mother, and Robert Towers as Eli, the impish magician, who steal the show. They make it seem that four years apart might actually have been good for their marriage. Dagney Kerr as Maxine, the sister who has it all (or does she?) brings a sweet normalcy to the family gathering.

Eli and Chris

A truly funny view of family by playwright Elin Hampton , with witty direction by Richard Pierce. Adjacent NYC-apartments set is by Jeff McLaughlin, with effective lighting by Michael Gend; sound by Cricket S. Myers, and costumes by Susanne Klein.

Presented by Round Swamp Entertainment, in association with Greenway Arts Alliance.  At Greenway Court Theatre, 544 N. Fairfax, Hollywood, through October. Tickets: (323) 655-7679 x100 or www.greenwayarts.org.  (free parking available)

THE OLD SETTLER ...in Los Angeles

An old settler is a coarse name for an old maid, but, in this case, it also suggests one who settles. This poignant play by John Henry Redwood is about a 50 year-old woman, in 1943, who is given the choice to embrace life, take a risk and find joy. A man twenty years younger offers her love and passion, but the society she lives in, personified by her sister and a young party girl, challenge and intimidate her.

Ruby Hinds & Jolie Oliver

Elizabeth is not a fighter, she’s a nurturer. Although a strong woman, she is dominated by those who mock and degrade her, whose actions are self-serving, and who can only love her when she is in defeat. The play often seemed to suggest the song lyric - some people get their kicks stomping on a dream - from “That’s Life.” However, Redwood understood the mores of the 1940’s and does not let us judge Elizabeth’s choice, or her sister's criticisms, from our modern viewpoint.

Elizabeth & sister Jolie

Ruby Hinds’ Elizabeth is dignified and deeply loving; Jolie Oliver, is delightfully funny as her unintentionally cruel sister; John R. Davidson, as the young suitor, shows a gentle man naïvely trapped by split loyalties, and Crystal Garrett is sassy as Bessie May, a young gal who knows how to control men through sex.

Bessie May & Jolie

William Stanford Davis directs with sensitivity. Set design by Thomas Brown, lighting by Carol Doehring, costumes by Grace Goodson and props by Chuck Loring are all redolent of a bygone era.

A  JVO Productions in association with InterACT Theatre Company. At The Pico Playhouse, 10508 W. Pico Blvd., Los Angeles, through Oct. 27. For reservations (323) 960-7712 or www.plays411.com/oldsettler.

The Old Settler premiered in 1995 at the O'Neill Theatre Conference and in 2001 was on PBS-TV starring real-life sisters Debbie Allen and Phylicia Rashad.

JESUS HOPPED THE "A" TRAIN …in Hollywood

I only managed to catch the closing performance of this brilliantly written and executed play by Stephen Adly Guirgis, who is fast becoming my favorite contemporary playwright. Having been bowled over by his Judas Iscariot trial play last month, here we are again drawn into his world of pain, sorrow and madness that ultimately challenges our own concept of love and compassion.

A young Latino man, ironically named Angel, is thrown into Rikers Island after having angrily shot a phony religious leader who had brainwashed his dearest friend into a zombie acolyte. Here he finds himself drawn down into the first levels of Hell, as he is assaulted by a sadistic guard, brutalized by other prisoners, and faced with the possibility of perhaps never being free again.

Heading this superb cast is Victor Anthony, as Angel, so fiercely adamant in claiming his innocence that we believe him; Kathryn Taylor Smith, is delightful as his attorney whose sentimental nature is at war with her ethical standards; Jacques C. Smith, as Lucius his sole friend, is dynamic as a serial killer whose only lifeline is a belief in a forgiving God; Justin Huen, subtly reveals the cold reasoning of a guard who enjoys using violence over men in his power; and Mel Hampton, as a kindly guard, persuades us by his merciful behavior that he cannot condemn a man no matter how evil his past actions.

Under Ashley Teague’s forceful direction we are drawn into a world where the price of survival is too often madness. Percussionist Jen Schwartz, live onstage, provides a dramatic background of sound throughout. The stark set by Johnny Burton, lighting by Ivan Robles, and costumes by Carlie Tracey, imaginatively suggest the prison world. Unseen inmates voices are played by Arthur J. Mahone, Robert R. Smith and Ernest Shepard.

Produced by Kelly Shea and Devon Colbert, of The Collective Studio, in cooperation with The Rescue-A-Life Foundation. Performed at The Lyric Theatre, 520 N. La Brea Ave., Aug 9-25. Proceeds benefit The Rescue-A-Life Foundation that provides services and housing to the Homeless, to Veterans and to the Formerly Incarcerated and their families. www.rescuealifefoundation.com