[ssba]
Pocket Universe
Reviewed by Paul Birchall
Lounge Theatre
Through June 26
RECOMMENDED:
Playwright Thomas Brandon’s engrossing little drama unfolds as an increasingly terrifying puzzle, with a resolution that’s as sad as it is disturbing. Kelly (Nan McNamara) and Roan (Rick Marcus) are a married couple enjoying a picnic in a park. They’re sharing drinks and rehashing memories of their first dates – it seems like a lovely, romantic day. But something is wrong here: Kelly’s memory falters and she relives the same moments again and again – and she can’t make sense of a mysterious door-to-nowhere, right in the middle of the picnic area. Kelly’s unease shifts gradually into anger and then into horror, as Roan mysteriously tries to undercut her attempts to discover the true reality.
Director Rhonda Kohl’s intimate production has a lovely Twilight Zone quality to it, anchored by McNamara and Marcus’s multi-dimensional, believable characters. Brandon’s writing is tight, leaving us guessing almost to the ending. The way the play’s context veers from reality to some kind of skewed, oddball universe is quite masterful – the writing recalls Pirandello, when it’s not putting is in mind of Rod Serling. McNamara’s emotional range is a revelation.
The Lounge, 6201 Santa Monica Blvd, Hlywd.; https://www.hollywoodfringe.org/projects/2102?tab=details
Inside the Mind of Me
Alicia Reyes Photography
Reviewed by Paul Birchall
Theatre Asylum
Through June 27
In playwright Wade F. Wilson’s drama, a young man (Michael Marcel) languishes in a coma, following a suicide attempt. His story takes place on two levels: In the “real world,” he’s visited in the hospital by his grieving ex-girlfriend (Marlies B. Bell), who has started dating the comatose man’s best pal Chris (Eric Anthony). Meanwhile, in the world of his spirit, the poor fellow is forced to re-live ever more painful aspects of his life, while also being tormented by a creepy demon (Graydon Schlichter) and protected by a kindly guardian angel (Kire Horton).
Wilson’s play is best considered more of a meditative work of poetry than a drama, but the writing is frequently heavy and stilted. There are certainly some beautiful moments amongst the metaphysical themes: Scenes in which the hero relies on the kind benefices of Horton’s warm and tenderly wrought Angel are moving and heartfelt, for instance, while sequences in which Anthony’s pragmatic dude-next-door justifies the emotional treachery that drove the hero into his coma, are powerful. However, elsewhere, the play’s structure is choppy and the conceits often come across as half-baked.
Wilson’s staging is top heavy with clumsy blocking and sloppy fights, and some of the performers show their obvious theatrical inexperience with weak line readings and halting movements. Still, Schlichter’s larger than life demon nicely interacts with Horton’s sweet angel – and a droll, crusty turn is offered by Marty Hrejsa as the hero’s affectionate, but physically frail grandfather.
Theater Asylum, 6320 Santa Monica Blvd, Hollywood; https://www.hollywoodfringe.org/projects/2097
