Our Lady Of 121st Street
Reviewed by Lovell Estell III
Loft Ensemble
Through September 15
Stephen Adly Guirgis has a knack for scripting characters that “stick” with you, and a keen ear for dialogue that is, by turns, wrenching and humorous. In this dramedy, Guigis creates a gallery of raucous misfits who are brought together by the death of a beloved (and feared) mentor, teacher and friend.
The story takes place in an urban New York City funeral home and its surrounding environs, with the deceased being the beloved Sister Rose. The problem for the mourners is that someone has absconded with the nun’s body, and apparently also stolen the pants off Vic (Marc LeClerc), who is first seen on stage in gaudy-colored underwear, raving like a madman to Balthazar (Ela Castillo), an alcoholic cop who has arrived to investigate the crime. Of course, the funeral is delayed until the corpse can be recovered, which provides the opportunity for reminiscing and emotional confrontations among those who have gathered for the service.
These include Rooftop (Chris Oliver), a deejay who comes across as more of a veteran street hustler; his emotionally damaged ex-wife Inez (Nandi Chapman); Flip (LA’Vel Stacy), a closeted lawyer, and his actor/lover Gail, who’s a flaming queen (Ignacio Navarro); Marcia (Nora Yessayan), sister Rose’s frail niece; Norca (Zenarra James), a lesbian with a planet-sized bad attitude; the diminutive Sonia (Paige Gallagher); Lady Father Lux (Barbera Ann Howard), a burned out cleric who is confined to a wheelchair; Edwin (Noah Copfer); and Pinky (Ben Anderson), his brain-damaged brother whom he cares for.
Guirgis tells this story using a series of vignettes driven by gritty, sometimes profanity-laced dialogue. Most of them are funny and compelling. We learn about lives, past and present, and animosities and secrets — but we don’t really learn a lot about Rose’s impact on these characters. In fact, the “whodunit” element of the plot recedes into the background, and never really gets resolved, while the finale is somewhat of an aborted catharsis. But it isn’t until the short second act that things start to wear thin, and the static nature of the play makes itself felt.
One of the funniest vignettes is when Rooftop visits the confessional (after a 15-year lapse), lights up a blunt, and hilariously parleys with Lady Father Lux (who, when visiting a bar, says of God, “He spends more time here than he does next door.” Another knee-slapping segment builds around Flip and Gail’s attempt to negotiate the boundaries and proprieties of their relationship.
The production showcases some good performances. Director Adam Chambers infuses a palpable and compelling hip-hop aesthetic via dance and music, and it all nimbly unfolds on Madilyn Durrie’s simple yet effective urban-inspired set, accentuated with red brick, graffiti, and street signs.
Loft Ensemble, 11031 Camarillo St., North Hollywood; Sat., 8 p.m.; Sun., 7 p.m.; through Sep. 15. www.loftensemble.org or (818) 452-3153. Running time: two hours and 15 minutes with an intermission.
