DOWN IN THE FACE OF GOD

Original works produced in Southland regional theatres are rarely given the benefit of a substantial budget and the creative assets needed to thrive. A-Z Productions has clearly endeavored to do that, and they have found a promising and unique performance space in the surprisingly spacious and well configured Studio Stage Theatre on Western Avenue in Los Angeles. The unassuming location boasts a friendly front of house staff and facilities that have the potential to be a theatrical oasis in a diverse section of the city. Inside the Studio Stage Theatre, A-Z Production’s offers up the new work Down in the Face of God.

The events that make up the story of Down in the Face of God take place in the post apocalyptic town of Thebes, Illinois. The town, now void of adults, is run by orphaned teenagers who are left to live with the knowledge that they, too, will die as soon as they turn eighteen. The children, living in fear and desperation, are governed by one another as they strive to remain in the favor of the gods who are a source of both fear and curiosity in the adolescent community. The teens are further assisted by the mysterious mouthpiece of the gods, Ora (Christina Jun), and by a book of knowledge guarded by their reluctant leader, Pen (Daniel Amerman). The group toils in the shadows of the ever-passing trains and worships on the banks of the muddy river that carries away the lifeless bodies of each of their dead. The introduction of a stranger quickly becomes a source of conflict and the group splinters over what place this new figure should hold in their society. In due course, conflict becomes full-blown spiritual warfare and the beautiful Anna (Meredith Wheeler) forces the town to a reckoning as she tries to break free from the invisible chains of Thebes. All the while, Pen struggles with his own sexuality, mortality, and apprehension as he seeks refuge in a world without hope.

The set design by Tristan Jeffers fits well the space and is one of the strongest aspects of the production. Likewise, the lighting and sound designs are bold and well-conceived, despite considerable technical gaffes that lessen their overall impact. The fights are efficient and realistic, and Doug Oliphant’s movement direction is successful in both design and execution. The company has also assembled a rare asset in local theatre, gathering an able and artistic publicity team to photographically promote the show.

Among the youthful cast, Amerman delivers the most engaging performance, giving Pen emotional depth and imbuing him with honesty throughout. Wheeler’s strength lies in her obvious dedication to the role and both she and Amerman capitalize on their considerable talents and training to create strong, consistent and committed performances. Lauren Terilli is also effective in the smaller role of Ino. The efforts of the cast at large are limited, however, by a general void of artistic direction and a sizeable absence of a polished theatrical ambiance. Oversights, on stage and off, including dead bodies that have no weight and pristine lableless bottles, distract and trivialize the already difficult material. Likewise, there is a lack of projection and enunciation within the cast which is further exasperated by blocking that often has actors facing upstage in an acoustically difficult venue. Projection was not a problem, however, as some members of the cast whooped and hollered with enthusiasm after the conclusion of the show as they exited backstage. While the costumes are interesting in concept, they are at times muddled by practical contradictions and what might have been intended to be dark and thought provoking, in fact appears more as disagreeable and disjointed. The production is most notably hamstrung by a self-indulgent script that seems to take pride in being unappealing. Its mythical and supernatural themes are derivative and dated and the story itself is marred by forced metaphor and a porous plot that quickly descends into convolution. While the direction shows moments of ingenuity, its greatest accomplishment is in amassing a cast that fully buys into the story they are telling, despite the emotional inconsistency and the inherently base dialogue with which they must contend.

The creative benefits associated with producing new works needs also to be paired with a level of professionalism to match, and Down in the Face of God falls short in that regard. However, some theatergoers may appreciate this offering for its boldness, regardless of miscues and weaknesses. Ultimately, the presentation of original works is a laudable feat, and A -Z productions should be praised for dedicating considerable resources to new ventures.

Down in the Face of God runs until June 2^nd at that Studio Stage Theater, Los Angeles http://www.athroughz.org

Once Upon a Mattress

Cabrillo Music Theatre has been producing some of the strongest and most entertaining shows in Ventura County for many years. The company’s consistency and endurance is second only to the quality of performers on stage. The company continually draws full houses and consistently put forth a deeply enjoyable final product. Their current production of Once Upon a Mattress is no exception.

This well known fairytale has been a favorite of children and adults alike for many years. The show’s successful runs both on Broadway and internationally have kept it relevant and made it one of the most widely produced musicals on the planet. The story follows the lovable Princess Winnifred (Bets Malone) as she moves about her royal life in search of happiness, love, and self realization. Her musical dealings with those she comes in contact with, including mama’s boy Prince Dauntless (Scott Reardon) and the narrating Minstrel (Danny Gurwin), are filled with fun and the light-hearted mirth that keeps audiences coming back to this well known classic.

The show boasts a strong ensemble cast that presents a fast-paced and hilarious melodic story of misadventure. The onstage orchestra becomes a part of the action at times and adds to the atmosphere of carefree storytelling that is the heart of this Cabrillo offering. Malone is without a doubt the heart of the show but Gurwin and Reardon deliver comedy on demand with perfect timing and character. Tracy Lore as Queen Aggravain plays the domineering mother role to the hilt, as does the talented David Newcomer as King Sextimus. Compelling in song and dialogue, the show reaches its highest point atop the twenty fluff-filled mattresses on which the title of the show is based. The staging of the scene had the audience gasping and laughing as the distressed and sleepless Winnifred tosses and turns close to edge of her lofty place of rest. Additional comedy and plot points are skillfully contributed by Noelle Marion, Isaac James, Timothy Stokel, and David Gilchrist to further emphasis the depth of talent on stage at the beautiful Thousand Oaks Civic Arts Plaza.

The direction by Richard Israel is spot on and brilliantly accented by Cheryl Baxter’s eye-catching choreography. The musical direction fills the space with harmonies and the set and costumes are a perfect fit. With all of those elements working in harmony, the cast thrives with the support they are given and keeps the large house in laughter throughout. Following the commanding lead of the enthralling Malone, this show propels itself forward and takes you on a ride worth every penny. Cabrillo’s Once Upon a Mattress is a fairytale that you really shouldn’t miss.

Once Upon A Mattress runs until May 1st, at the Thousand Oaks Civic arts Plaza http://www.toaks.org/cap/tickets/events/event.asp?eventID=1695

PERFECT QUIET PLACE

Ventura County has a thriving arts community. There are full theatrical seasons being offered by more than a dozen performance spaces spread out over ten major cities. However, original full length works are a rarity in the area. The world premier of Perfect Quite Place, presented by the Elite Theatre Company in Oxnard, is a rare opportunity for local theatre patrons to attend the initial performances of a previously unproduced work close to home.

Perfect Quiet Place tells the story of a young girl who is trapped in a world where her perceived reality is becoming increasingly suspect. The action opens on Hannah (Andrea Muller) with two of her schoolmates (Annie Sherman and Hayley Silvers) at a private high school in California. Her musical studies are forced to take a back seat to the disruptive and sometimes downright odd behavior of her friends and the school’s night watchman (Michael Chandler), whose presence is a source of both concern and mockery for the teenage girls. Hannah brokers a fragile peace between her volatile friends and succeeds in conversing with the night watchman, but in doing so, becomes increasingly aware that what she knows as truth is far from reality. When things begin to disappear from her room, Hannah drifts between uncertainty and unease and is ultimately compelled to confront the ever-changing world in which she lives. She soon finds herself under the care of a doctor who further muddles her life picture, leading Hannah to exclaim "You’re curing me of everything good in my life." No longer able to trust her own mind, she is flung into a life and death battle for survival that culminates in a ferocious physical encounter that she can only escape by overcoming her own fear and rising above the chaos that surrounds her. In the end, she is left reaching out to something unknown, longing for escape or redemption.

The versatile pale green dorm room set fits well the three-sided stage in the pleasant surroundings of the intimate lower level playhouse, and the technical elements are strong for the most part as is the pleasing theatrical ambiance missing in many of the southland’s smaller venues. Author Tom Eubanks offers a script that seems to delight in keeping audiences off kilter with varying degrees of success. The direction, though pedestrian at times, succeeds best in the final moments of the show and is unafraid of the ambiguous ending that is strangely fitting given the unorthodox structure of the play. Each member of the four person cast delivers moments of effectiveness in their difficult dual roles, although it is the youthful Muller who accomplishes the most laudable feat in her role as the distressed heroine of the story. Onstage from beginning to end, she successfully brings a childlike exuberance and fresh-faced hopefulness to the character of Hannah, despite the trials that she must endure. The Elite Theatre Company’s production of Perfect Quiet Place is a praiseworthy venture in the ring of presenting original works, and sounds loudly the bell for other small theatres to do the same.

Perfect Quiet Place runs until May 27th at the Elite Theatre Company in Oxnard. http://www.elitetheatre.org/

THE FIX

The beautiful space of the international City Theatre is as accommodating as it is enjoyable, and the group has made a reputation of doing quality works in the downtown area of Long Beach. The new Rock Musical The Fix is now on stage and stands as another example of ICT’s commitment to presenting entertaining and well-produced theatrical works.

The Fix is a quippy, silly and irreverent look at the status of politics in America. It focuses on the life of unintentional politician Cal Chandler (Adam Simmons). More interested in playing three chorded songs with his band than in politics, Chandler is thrust into the race for office when his father (William T. Lewis) suddenly dies under scandalous circumstances. The rock band front boy is puppeted by his conniving mother (Alix Korey), and heavy-handed uncle, and political genius Grahame Chandler (Sal Mistretta). Together, they form a familial political machine that lifts Cal up before slamming him violently back to earth and destroying multiple lives in the process. The tone of the show is initially comedic before turning dark and twisted after intermission, and that duality is embraced by both cast and crew. In the end, it is a morality tale of the pitfalls and contradictions that exist in both politics and humanity.  The production is staged on an effective tri-colored set that has the advantage of being both practical and visually appealing. Filled with frivolity and commentary, both in song and dialogue, The Fix is a prime example of the modern Rock Musical genre.

It is a script that succeeds best with its comedic one-liners that draw considerable laughter despite the somewhat self indulgent nature of the writing. Randy Brenner’s sure handed direction makes fine use of a talented support staff and a strong cast. The staging is effective and the cast more than able in the majority of their roles. Simmons brings out the comedy as Cal and plays well the difficult role. Mistretta is impressive in the show’s most challenging part, and Lewis and Korey bring considerable talents to bear. The cohesive supporting cast performs well across the board. Standouts David Michael Laffey and Melanie Fernandez provide performances in various roles that are both engaging and compelling in voice, character, and commitment.

There is considerable humor in this Cameron Mackintosh-crafted musical and some depth as well. Weaknesses in the story and minor gaffes with props and sound detract from the overall effectiveness, but the strength of production and presentation remains high. ICT’s tackling of this project is commendable due to its limited audience appeal, but their devotion to putting each production in its best light through interconnected performance elements and talented artists is what is most notable. International City Theatre’s The Fix succeeds principally due to its execution by reaching across the aisle to marry ambiance and talent for an enjoyable night at the theatre.

The Fix runs through May 20th at International City Theater in Long Beach. http://ictlongbeach.org/

CYRANO

To say that Deaf West Theatre has a solid reputation would be a drastic understatement. For years their efforts in presenting works that appeal to both the hearing and the hearing impaired have garnered rave reviews and delighted audiences. Their adaptation of
Cyrano now on stage at and jointly produced by the enduring and endearing Fountain Theatre, is a concept that is tailor made for the group and it fits like a glove.

The story of Cyrano de Bergerac was written in play form by Edmond Rostand in 1897 and has been adapted and reworked for the stage, screen, and even radio, becoming very much a part of our society. References to the man who needs someone else’s words to woo his love are so commonplace that they have become standard devices in storytelling. Such devices have never been so touching and honest as they are when applied to the very real life situation of the deaf. Originally crafted to tell the tale of a man whose looks are a stumbling block in love, playwright Stephen Sachs brilliantly applies the same principle to a man who cannot hear.

This production’s modern Cyrano (Troy Kotsur) lives in Los Angeles and, although unable to hear, thrives as a counter-culture poet who makes it his mission to berate the poetical offerings of both his hearing and deaf contemporaries. Somewhat of a celebrity in the underground poetry world, Cyrano openly rebukes both lesser poets and modern technology, preferring instead to revel in his own self-absorbed and egotistical world. His only companions on his lonely plane of existence are his burned out rocker of a brother, Chris (Paul Raci), and the woman that they both love, Roxy (Erinn Anova). The three form a love triangle that leaves each one of them out in the romantic cold until the final moments of the show. Cyrano becomes Chris’ voice by composing texts and emails to Roxy for his brother while all the time loving her deeply himself. Chris flounders as he tries to keep up the ruse, but ultimately wins Roxy through his brother’s words. The hearing Chris, who has translated for his deaf brother all of their lives puts sound to Cyrano’s soul, and in doing so, loses his own. The hearing Roxy finds her love for Chris growing with each written word but fails to see the love that Cyrano also feels for her. Ultimately, it is Chris’ inability to find himself that nearly tears Cyrano and Roxy apart before binding them together forever. It is a heart-wrenching adaptation in which the key concept is infinitely more meaningful and true than the original tale, and the lead performances bring it out to perfection.

In the trio of Kotsur, Raci, and Anova, sharp-eyed director Simon Levy and playwright Sachs have found a connected and talented core group of actors. The emotion and comedy they convey reaches the audience and touches them for its candor and frankness. Kotsur is as powerful as he is vulnerable and Anova is as absorbing as she is open. As the most pleasant surprise in the cast, in a role that could easily be rendered ineffective by a lesser actor, Raci soars with humor and feeling. His ability to sign, communicate, and entertain bridges the gaps in a mountainous range of emotional highs and lows demanded by the challenging character. Bob Hiltermann is a standout as well in the brief but crucial role of Bill, Cyrano’s grounded confidant.

The second act of Cyrano is as strong as any version written and the high concept show makes tremendous use of the remarkable technical talents that Deaf West and the Fountain Theatre have at their disposal. The set, lights, and video design are so enthralling that they could almost be a show all on their own. The writing in the first act is, at times, bogged down and lacks genuineness, as do some of the performances in supporting roles. Likewise, the stylized fights are distractingly bad and ill fit the space. Still, Sachs’ conceptual genius and that of Levy and his remarkable design team, combined with the raw emotion delivered by the lead actors and many of the ensemble, make this show a must see. Cyrano is a treat for both the eyes and ears. Hearing or deaf, the impact of this story has never been never been louder or more touching.

This FOUNTIAN THEATER/DEAF WEST production of Cyrano runs until June 10that the Fountain Theatre in Los Angeles. (323) 663-1525 www.fountaintheatre.com/boxoffice