FLOWER DUET …North Hollywood

Max and Stephanie, who were once passionately mad for each other, have settled into a polite domesticity, while Sandy and Maddie, who were once ingenuous sweethearts, are now suffocating under the weight of parenthood. Amid bright chatter and clever talk both couples give an appearance of harmony. Yet, two of the partners are involved in a sexual escapade while the others dream of escape. Playwright Maura Campbell briliantly shows how these hidden needs threaten to destroy both marriages. It’s an intriguing play, with a Chekhovian view of modern relationships, where the image we project is in direct contrast with the yearning child within.

All in the ensemble cast are riveting: Avery Clyde and Adam Mondschein are the sophisticated couple with an apparent perfect marriage, Jessica Noboa and Patrick Joseph Reiger are in constant conflict as both parents and wary allies, while Kara Hume is an almost supernatural being as their child carrying the weight of her parents angst. 


Hume also displays a beautiful voice when she sings an aria suggested by the play’s opera title.

Directed with bold energy by Jeffrey Wienckowski, the garden-like set is by Christopher Scott Murillo, with lighting by Boris Gortinski, sound by David B. Marling, and flower-bedecked costumes by Halei Parker. Produced by Zeljka Z Gortinski and Ellie Jameson for Road Theatre Company.

At The Road on Magnolia, NoHo Senior Arts Colony, 10747 Magnolia Blvd, North Hollywood, through July 26.  For tickets 866-811-4111 or www.RoadTheatre.org.

Photos by John Lorenz.
 Also reviewed in the July issue of NOT BORN YESTERDAY.

DORIAN’S DESCENT …Hollywood

In Oscar Wilde’s only novel, The Picture of Dorian Gray, a beautiful young man in Victorian England makes a pledge with the Devil. Realizing that one day his beauty will fade, he expresses a desire to sell his soul to ensure his portrait will age rather than him. When he subsequently pursues a life of debauchery, his wish is fulfilled, and the portrait ages with each sin he commits. While keeping close to the details of the novel, this show highlights his double life by adding a demonic character to illustrate his downfall.

            In its day the subject was considered scandalous, but in our modern world Dorian’s hedonism would barely raise an eyebrow. Attending male or female brothels, losing himself in opium dens, even killing in a petulant rage, unfortunately seem rather ho hum today. Also the show confuses us by placing it in no clear time and place. However, author, musical director and songwriter Chris Raymond manages to bring some passion to the play through the often dazzling musical numbers choreographed by Tania Possick.

 

            It’s an ambitious musical with a huge and earnest cast led by Michael D’Elia as Dorian; Toni Smith as the Demon; Cassandra Nuss as the doomed Sybil; Kelly Brighton as snobbish (Sir) Henry; Lauren Hill as no-nonsense Madeline; Jeremy Saje as the artist; Michelle Holmes as an hysterical mother; Tony Graham as her vengeful son, and some delightful bits by Andrew Diego and Kevin Corsini. 

 

            Energetically directed by Marco Gomez with set by John Iacovelli, lighting by Jean Yves Tessier, sound by Julie Ferrin, and costumes by Michael Mullen. Produced by Mike Abramson and Dolf Ramos as a DOMA Theatre Company and Requiem Media Productions LLC world premiere co-production.

At the MET Theatre, 1089 N. Oxford Ave, Hollywood, through July 20. Tickets: (323) 802-4990 or www.doriansdescent.com.

Photos by Sylvia Spross. 
 Also reviewed in the July issue of NOT BORN YESTERDAY

GRUESOME PLAYGROUND INJURIES …Los Angeles

In this witty and engrossing play, two damaged kids meet in the infirmary, she has stomach cramps, he has a cracked skull. So begins a tortuous love story that switches back and forth in time. They meet at years-long intervals, always when he is badly injured, and they deeply bond. She has the magical ability to help him heal, while he has an intense longing for her love.

As this two-hander takes them into deeper disasters and frustrating emotional misses, we are both fascinated and appalled at the catastrophes that unfold. We recognize their need for each other and hope for a resolution but sadly, in the end, playwright Rajiv Joseph leaves us suspended in the midst of a near fatal encounter.

Both Brad Fleischer as Doug, and Jules Willcox as Kayleen, are totally believable and touching whether at eight years old or thirty eight. While their performances are heartbreaking they still provide flashes of humor that alleviate the tension. In fact, under Larissa Kokernot’s sensitive and imaginative direction, they effortlessly transform through non-chronological scenes from troubled children to anguished adults to embattled teens. 

 

Produced by John Perrin Flynn and David Mauer (who also designed the stark adaptable set) with lighting by Dan Weingarten, sound by Colin Wambsgans, and simple but effective costumes by Halei Parker. Photos by John Flynn.

At Rogue Machine Theatre, 5041 W. Pico Blvd., LA through July 14. For tickets: (855) 585-5185 or www.roguemachinetheatre.com.

BLOOD RELATIONS …North Hollywood

 Canadian playwright Sharon Pollock cleverly creates a play within a play to explore the motivations and actions of the notorious Massachusetts 1892 axe murderess Lizzie Borden. 

As a true crime aficionado, I have no doubt that she killed her hated stepmother with 19 blows then, barely an hour later, her father with 11 blows. Still, by using this oblique device, Pollock walks us through the day’s events with a plausible explanation, both emotionally and psychologically, for what motivated Lizzie. Apparently it came down to money, as with many other famous crimes, but in this intriguing play the personal dynamic of the family is laid bare and we see the deeper forces at work.

 

The actors superbly reveal the crazed dynamic of a family seething with unspoken contempt but it is Lizzie, crazy Lizzie, a bad seed in a polluted garden, who acts out the undercurrents. It is well known that she despised her stepmother but, in this telling, the revelation of her true feelings for her father brings a sad but plausible end to the story.

The excellent cast are: Carolyn Crotty as an enigmatic Lizzie and also the Irish maid; Meg Wallace as an actress brilliantly “performing” Lizzie; Hap Lawrence as the beleaguered father; Deborah Cresswell as the devious stepmother; Amy Moorman as the timid older sister; Steve Peterson as the greedy brother-in-law; Jay Disney as a flirtatious local doctor, and Steve Jarrard as Lizzie’s adroit defense attorney. 

Subtly directed by Jarrard, who also designed the simple set, with lighting by Jason Ryan Lovett, and lovely costumes by Meg Wallace. Photos by Mani Horn.

Produced by Collaborative Artists Ensemble. At Raven Playhouse, 5233 Lankershim Blvd. NoHo, through June 15. Tickets at 323-860-6569 or www.plays411.com/bloodrelations. 

THE GHOST OF GERSHWIN …North Hollywood

 

 A young composer of today, in a gorgeous Brooklyn apartment, inherits a piano that once belonged to his idol George Gershwin. Well, it seems the piano brings good luck and most especially when Gershwin himself turns up.

It’s a fantastical conceit and really doesn’t add up to much, but the performers are all multi-talented and the choreography, from tap to ballet, is outstanding. The songs, intended as a salute to the great George and Ira, all seem to belong back in the thirties. Thus the show is one of nostalgia for an era of lighthearted melodies, foolish romances, and shared digs with Broadway hopefuls on every floor.

 Heading the cast is Andrew Bourgeois as a youthful wunderkind; Emma-Jayne Appleyard as a zoftik hoofer, and Daniel Lench as the philosophical phantom. Jean Altadel is an ingenuous love-interest; Gregory Guy Gorden a grumpy manager; Kyle Bares is a dashing dance coach, and Suzy London an understanding apartment manager.

Snappily directed by Jules Aaron, with dazzling choreography by Michele Bernath. The book is by Doug Haverty, based on an idea by musical director Wayland Pickard, who composed the music while sharing lyrics with Haverty and Laura Manning. Beautiful set by Chris Winfield and Aaron, with clever lighting by J. Kent Inasy and eclectic costumes by Angela M. Eads. Produced by Richard Alan Woody and Leah Shaw for the Group Rep.  

At the Lonny Chapman Theatre, 10900 Burbank Blvd, NoHo, through June 22. Tickets (818) 763-5990 or www.thegrouprep.com

Also reviewed in the June issue of NOT BORN YESTERDAY