Beautiful Monsterz
Reviewed by Iris Mann
Hollywood Fringe
Through June 21
This is a very timely play by writer-director Steven Vlasak. It deals with the cult of celebrity —fame sought either for beauty, wealth or through unrelenting promotion, either by oneself or by others who have something to gain. People who pursue celebrity will tolerate virtually anything in service to that celebrity.
The story begins as photographer Allen Hayward (Richard Lucas) tells advertising executive Henry Memphis (Bruno Oliver) that he’s met a young woman named Lori Green (Roz Stanley) who is a recent college graduate and who would be perfect as spokesmodel for Henry’s client, Ever Young Cosmetics.
From the start, it is clear she is troubled, as Allen recounts how he watched her tear up her diploma and burst into tears. Once Henry hires her, he sets out to corrupt her as completely as possible, encouraging her to savor every type of debauchery. He gives her reading material by Oscar Wilde and the Marquis de Sade to stimulate her baser instincts. She follows his advice, which leads to a drastic theatrical climax.
Yet, while the subject is relevant, there are some issues. For one, the play is billed as a takeoff on Oscar Wilde’s novel The Picture of Dorian Gray — but its relationship to that book is tenuous, at best. Lori has no portrait, or film, against which to measure or reflect her corrupt ways, and she doesn’t age as Dorian does; instead, the action takes place over the span of only one year. Also, it is debatable whether giving someone explicit reading material is the best way to send them on the path to decadence.
While Henry pontificates on a life of excess, some of his speeches are too elliptical and could be made more concrete. Furthermore, we never quite understand why he is determined to corrupt Lori. Is it because he wants to control her, or does he have some other reason?
Vlasak calls his work a dark comedy, but one can count the limited number of laughs, dark or otherwise. Also, as the director, Vlasak could help sharpen some of the performances. Stanley glides sensuously around the stage and is convincing in her growing depravity, but it would be helpful if there were more contrast between the person she is at the beginning, the person we watch descend into the depths of degeneracy, and the person she becomes at the end.
Lucas needs to be a bit more assertive with the character he has carved out for himself, while Oliver fares the best. He has an admirable stage presence and projects a suave confidence that is exceptionally suited to his character.
The use of rear projection to encapsulate the year of Lori’s descent into moral turpitude is one particularly effective touch.
https://www.hollywoodfringe.org/projects/5070. 50 minutes with no intermission.
