An Evening of Legend

In a macabrely exquisite tour-de-force, Travis Rhett Wilson mystifies in "Lord, Save My Poor Soul: An Evening with Edgar Allan Poe," a splendid one-man production starring the deceased literary hero.

Skillfully written/arranged and directed by John Lynd, "Evening" is a moving, visceral journey through the times and trials of the legendary poet, exploring every facet from childhood memories, to dysfunctional relationships -- with family, women, society and the bottle -- with each of the play's two acts culminating in stunning reenactments of Poe's most famous works, "The Tell-Tale Heart" and "The Raven," respectively. The production is minimal: just Poe, his writing desk, a spirit-filled decanter and Virginia Poe's empty wedding dress -- the combination of which is maximal in its aesthetic power. Especially the latter -- O, that dress -- with its lifeless sleeves swaying as it's cradled about in a somber recreation of Mrs. Poe's final, tuberculosis-ridden days... quite a disturbing, profound effect.

In a role he was seemingly born to embody -- his awe-inspiring, award-winning turns as Renfield (RCP's 2007 "Dracula") and  Macbeth (IESF's 2008 "Macbeth") notwithstanding -- Wilson readily exceeds this reviewer's expectations of his artistic capabilities, once again proving himself one of the Inland Empire's greatest acting talents. He humanizes Poe, a man whose enduring worldwide fame paints him even more morbid than his writings; yet, as Wilson aptly portrays, Poe was a man of deep love, passionate for his art and beloved Virginia; a man whose heart-wrenching losses and subsequent fears tortured him to alcoholism and eventual madness: a harrowing roller-coaster through which Wilson vises the audience's attention from lights up to the final "nevermore."

Lynd has struck gold with his "Acting Out Series." Fascinating and informative, entertaining and educational, one is sure to leave with a greater understanding of and appreciation for the statesmen, pioneers and artists that shaped Western culture. Coming soon: the respective lives of Benjamin Franklin and Vincent Van Gogh.

For performance or booking information visit http://www.jtlproductions.net. 

LA theater reviews by LA Theater Critic.

Top Vision, Top Execution, Top Entertainment: “Top Girls”

Featuring an impressive all-female cast, superbly directed to powerful realism, 3 Theatre’s “Top Girls” is an electric, riveting, in-your-face theatre experience.

What do a medieval damsel, Germanic warrior princess, Buddhist concubine-nun, Victorian explorer and philosophizing pope have in common? They’re all deceased, time-travelling dinner guests at a surrealistic party held by a Reagan-era British business woman -- Act One of Carol Churchill’s somberly poignant drama of feminine tribulation and mystique. Through this unabashed, dark-witted conversation, Churchill outlines woman’s struggle through centuries of misogynistic oppression, foreshadowing -- Act Two and Three’s modern-day vignettes of the same personalities and trials that have endured the changing zeitgeists.

Overall, the ensemble is wonderful, aptly demonstrating a wide range of characters and mostly consistent dialects. Alisa Ann Lovas (Griselda/Nell) brings an affective naïveté to her roles. Melissa Smith (Kit/Shona), a young veteran of musical theatre, delivers as the sassy youth empathetic to her best friend’s familial plight. Rhiannon Cowles (Lady Nijo/Win) is a delight to watch as both the stoic Kabuki-faced courtesan -- with her moving revenge monologue -- and Nijo's modern alter ego, Win, a smooth-talking, well-traveled, Burnettesque office worker. Paige Polcene (Pope Joan/Louise) is great as the lady pontiff, especially when she lets loose with her mournful prayer -- in Latin. Sarah Jacques (Dull Gret/Angie) makes the largest shift between characters as she goes from sword-bearing combatant to discontented juvenile -- a change deftly made. Believable as a downtrodden teen, moving as a boorish, gluttonous ancient, Jacques’s monologue about her journey into hell is chilling.

Desiree Hill (Isabella Bird/Joyce) is a strong addition to the ensemble; having worked with Second City and Steppenwolf among others, Hill’s training and experience is readily apparent. Her scenes sizzle with voracity and power as the self-possessed Victorian, and even more so as the abusive matriarch of her dysfunctional family. At last, but far from the least, Rebecca Williams enthralls as the sultry-voiced top girl, Marlene. With intelligent choices she deftly navigates the central character’s difficult journey as a no-nonsense businessperson and distraught absentee mother -- avoiding the pitfalls of demonstrative presentation and caricatured British accent. From her silent entrance into the dark head trip of an opening scene, to the explosive argument and aftermath during the closing beats, Williams possesses an intense focus and clarity of motivation that is a vision to behold.

Seasoned director Patrick Brien should be proud of this bold, captivating production. With great costuming and a delicately crafted tone -- sans the self-consciousness and aspirant habits often seen in non-professional theatre -- Brien and his cast have created a dynamic, gripping production that would make Grotowski smile.

3 Theatre's "Top Girls" continues through Oct. 24 at the Mission Galleria in Riverside. 

LA theater reviews by LA Theater Critic.

Delightful Parade of Dialects

"Deanne and Robert, a May-December couple, have just returned from their honeymoon, and Deanne is shocked to find that Robert has unwittingly bought the very same apartment that she used to live in with her ex-husband, Skip. Not only that, but Skip has also bought the apartment right next door to theirs. It becomes apparent in time that Deanne and Skip are still in love, and getting the couple back together is facilitated by Robert falling for Deanne’s mother, Louella. All ends right in this swift-moving romantic comedy from master comic writer Ron Clark." Thus reads the publisher's plot description. 

Not mentioned is the real gold of Clark's sit-com style offering: the revolving cavalcade of ethnic characters bringing high-energy entertainment and skilled comedic choices to the party. At least, that's how it plays in Riverside Community Player's production, directed by Rory Dyer.

Leading the cameo parade are acclaimed RCP mainstays Michael Truelock (Boris) and Arthur Wilson (Jovan), who bring the show's biggest laughs with their zany portrayals of a dim Russian furniture mover and effeminate Jamaican gossip, respectively. Truelock breathes life and empathy into another hulking yet gentle character, rife with expertly-timed, cheer-inducing one-liners. Wilson, a certified theatrical triple-threat, channels his Broadway showstopping energy into the zany, animated, albeit light-skinned islander with graceful ease. Even newcomer Madelyn Garcia (Jeannine, Inga, Gina) brings some entertaining moments with her neverending wig supply and variety of sultry European accents.

If for no other reason, stop at number 4 Beekman Street to catch the cameos -- they'll floor you.

LA theater reviews by LA Theater Critic.

Theater Deconstructed: A Recipe for Success

Lifehouse Theater closes its fifteenth season with an excellent offering in "Noah," a dynamic, fast-paced, thoroughly enjoyable retelling of the classic Hebrew story.

Deconstructed: a popular culinary style wherein a dish's ingredients are presented separately to accentuate their individual appearance and flavor. Lifehouse's "Noah" is the theatrical equivalent.

Part biography, part homage, with dashes of parodic timewarp, Dustin Ceithamer's original script and the talented young cast lay out every element of the production for the audience to relish. While the patrons find their seats with aid of Lifehouse's smiley, gregarious volunteers, the eight young players -- decked head-to-new-Converse-toes in their own primary color -- mills about on stage, chatting, handstanding and Facebook-statusing.

Once the the show begins, the wingless stage design simultaneously pulls the audience to both center and backstage; as one may watch a touching monologue or duet number, while the remaining players sift through props or slip tunics over their jeans and T's. (Thankfully, haphazard animal costumes made of painted cotton balls are nowhere to be seen.) Ladders and chairs make for versatile stage elements as they're utilized for everything from levels, to an altar and the ark itself.

Overall the production value is top-notch. From the fluid lighting, to the crisp sound and abstract set design -- every department harmonizes to create a show short on kinks and long on what can only be attributed to joyful, whole-hearted dedication to text and craft. Individually, and as a harmonizing collective, the cast is solid. Each rises to the task of switching characters, song and dance styles, and endless props without missing a beat. Two particularly enjoyable segments where the cast dazzles are when Noah goes on the "Non-committal Relationship [Dating] Game" to find a wife, and later when the Patriarch and family channel the rhythmic stylings of "Stomp" while constructing the ark.

"Noah" is a wonderfully realized, wholesome, inspirational must-experience romp for the whole family!

LA theater reviews by LA Theater Critic.

Big Laughs Highlight Fairytale Collage

Absurdism was the word of the day at Chino Community Children's Theatre production of "Into the Woods," a classic fairytale mash-up by James Lapine, with music and lyrics by Stephen Sondheim. About two decades before Shrek, Lapine and Sondheim created an entertaining world where the larger-than-life characters and the logic-bending, natural law-shattering plot devices of numerous fairytales collide, conflict and eventually coalesce against a common threat.

Aptly directed by Jenn McHugh, the production works best when its young cast (14-22 years old) is fully commited to the ridiculousness of their characters and situations. 

Whether chasing after Jack's stuffed castor-riding cow, yanking at Rapunzel's lengthy yarn locks, pulling Red Riding Hood cloak and make up intact from the disembowled Wolf, or cutting off plastic phalanges to fit into Cinderella's gold high-heeled slipper, the juvenile players bring the funny with fearless dedication to the text.
 
There are several standouts among the motley crew of fantastical friends. The smooth dancing Big Bad Wolf and the sassy sprite Red Riding Hood have great exchanges, from their well-choreographed first meeting to her mess-free resurrection from his nightgowned carcass. The smarmy dynamic duo of Princes -- one wild-eyed with an Ace Ventura pompadour, the other face pinched with a stuffy Ivy League drawl -- never fail with their aisle-rushing, maiden-ravaging antics. 

Then there's the black-clad disgruntled Stage Hand who manages to steal scene after scene with dispassionate prop schlepping, plot-assistng cue cards and brazen stuffed animal abuse -- all without saying a word. Then there's the Baker's Wife, who certainly deserves a name of her own. Her well-trained voice, expert comedic timing and subtle poignancy are award-worthy.

LA theater reviews by LA Theater Critic.

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