Tiana Randall-Quant, Kelsey Kato, Kurt Kanazawa (Photo by Bryce Darlington)
Reviewed by Madison Mellon
Rogue Artists Ensemble at Renberg Theatre at the Los Angeles LGBT Center
Through September 8th
Rogue Artists Ensemble’s Happy Fall: A Queer Stunt Spectacular is undeniably an ambitious project. It explores the history of cinema, specifically stunt work, through a queer lens. However, the array of themes and ideas the show attempts to convey, as well a large dose of spectacle, lead to an unfocused story that feels less than the sum of its parts. There is plenty of accomplished artistry on display, and the premise is intriguing, but it never quite comes together.
The entire piece is presided over by a host (Amir Levi) who introduces the show and the main characters, as well as occasionally interjecting themself into the story. The plot, to the extent that there is one, follows the romance between Clay (David Ellard), an older, closeted stuntman, and Felix (Kurt Kanazawa), a younger stuntman just getting his start. This simple core narrative is told with the aid of puppetry, projections, live video, and plenty of stunts, making Happy Fall a unique whirlwind of an experience.
This multimedia extravaganza often feels overwhelming, burying the themes of the piece rather than elevating them. There are miniature puppet shows, history lessons on stunt work in Hollywood, drag fantasy sequences, lengthy fight scenes, green screen trickery, and plenty of other magic and flash. While many of these moments are individually effective, they often feel like diversions and don’t illuminate much about the central love story.
The puppets (designed by Jack Pullman, Adrian Rose Leonard, and Kelsey Kato) are excellent and inventive—but it is never quite clear why this is a story that needs to be told through puppetry. The most effective use of puppetry is when Clay’s repression of his sexuality is visualized through a large, Bunraku-style dummy. But even here, the symbolism is relatively shallow: the meaning is clear the first time the puppet is utilized and does not evolve or deepen as the show goes on. The miniature puppets, used to depict the history of Hollywood stunts, are used for a variety of clever gags, but these tangents don’t satisfyingly connect back to the main story.
The relationship between Clay and Felix is the most grounded element of the show. Ellard and Kanazawa have strong chemistry and are engaging to watch together. Although, the gravity of their story is sometimes undermined by how cartoonishly their bigoted peers are depicted. The most insidious homophobia, sexism, and racism is implicit and hidden, and exploring that could have added greater stakes. Levi’s host is charismatic and owns the stage in a variety of dazzling costumes and wigs. Their interjections into the story serve as effective tension-breakers but, just as often, they slow the story’s momentum to a halt.
Happy Fall is certainly not wanting for creativity, and the fact that director Sean Cawelti has managed to keep all the show’s moving parts running smoothly is an impressive feat in and of itself. It is never boring, and truly does feel like an event, encompassing a diverse range of storytelling mediums and styles. In the end, this constant exploration comes at the cost of focus and cohesion.
Renberg Theatre at the Los Angeles LGBT Center, 1157 N. McCadden Place, Hlywd.; Thur.-Sat., 8 pm; Sun., 3 pm; thru Sept. 8. https://lightningrodtheater.ludus.com Running time: 105 minutes with no intermission.
