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