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.