Fruition
Reviewed by Dana Martin
Theatre of NOTE
Through December 7
According to Alexis DeLaRosa, we’re totally fucked. The future is grim; it’s violent and dangerous. His new play Fruition deep dives into a dystopian apocalypse in the not too distant future. It’s violent, suspenseful, action-packed and ultimately plot heavy.
Rainer (DeLaRosa) is having a bad day. He’s one of a few surviving resistance fighters against a deadly militia in a dangerous, oppressive dystopian society. He’s just murdered a couple of bad guys in a violent confrontation in an abandoned warehouse when he encounters Forest (Trevor H Olsen), a journalist on the run from the militia himself. Rainer is suspicious of Forest but joins forces with him despite his misgivings; there’s a nuclear storm brewing outside and the two need to stay put. Soon they meet another unlikely pair: Laila (Kathleen O’Grady) and Helga (Faith Imafidon), newfound friends who guard each other’s lives. The duos are barely acquainted and they certainly don’t trust each other, but they begrudgingly form an alliance and agree to protect one another and ride out the storm.
DeLaRosa’s portrayal of troubled hero Rainer is committed and intense; he’s written his own perfect role. Faith Imafidon’s Helga is a strong presence and she’s tough-as-nails, although her more tender moments are under-voiced and therefore lost. Kathleen O’Grady’s Laila is a dependable presence and brings a sense of calm to the storm. Trevor H Olsen is earnest and sincere as Forest. As militia bad guy Rollo, Travis York finds a villain in broad strokes. Nick Smerkanich and Thomas A. Fitzgerald play various militia enemies throughout and handle most of the fight choreography well.
Director Lauren Smerkanich keeps the play urgent and suspenseful and finds a nice flow to the play’s many locations. Set designer Amanda Knehans employs the entire space creatively and effectively, providing plenty of room for the play’s heavy action. Designer Alexander Le Vaillant Freer’s lighting is lively and dramatic. Mark McClain Wilson’s sound design is dynamic but lacks subtlety during the play’s too few affecting moments. Michael Mullen’s costume design is well textured, well-fitted and functional. Fight choreographer Sondra Mayer stages multiple high intensity encounters with precision. Original music composition by Hauk Heimdallsman lends the play a cinematic quality.
Fruition certainly sets a definitive tone but it’s hard to get a clear sense of any of the characters. Character development often takes a backseat to plot. The threat of violence and danger looms heavily in almost every moment. But Fruition’s most compelling ones happen between the bouts of violence and danger, when the characters are simply attempting to connect with one another at the risk of truly being seen. What could possibly be more frightening?
Theatre of NOTE, 1517 N. Cahuenga Blvd., Hollywood; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; through Dec. 7. (323) 856-8611 or www.theatreofnote.com. Running time: one hour and 40 minutes with no intermission.
