Miss Lilly Gets Boned
Reviewed by Lara J. Altunian
Rogue Machine Theatre
Through October 28
With a name like Miss Lilly Gets Boned, it’s hard for Bekah Brunstetter’s latest play not to grab your attention. The comedy boasts an interesting premise and fun performances that enliven the writer’s style. However, the plot tries to tackle too much and ends with a scattered message that doesn’t quite hit home.
Miss Lilly (Larisa Oleynik) is a polite, pious, and virginal Sunday school teacher at a Baptist church. Her sister Lara (Tasha Ames) is the polar opposite — a promiscuous spin instructor whose recent HPV diagnosis is making her question some of her lifestyle choices. Unlike Lara, 35-year-old Lilly is saving herself for someone ideal (“tall, with an accent, who wears blazers!”) but struggling to stay patient and content as she waits for the Lord to bring her a life partner. In walks Richard (Iman Nazemzadeh), the recently-widowed father of Lilly’s difficult and outspoken student Jordan (Brady Amaya). Richard is a cool, calm South African archaeologist who expresses interest in Lilly right away. After a few adorably awkward conversations he asks her out to tea and well, it doesn’t take much for Lilly to take his presence as a sign from God.
Meanwhile, far away, Dr. Vandalla Bhalla (Kavi Ladnier) is attempting to reform Harold (Justice Quinn), a six-year-old caged elephant who has been imprisoned for charging and killing a woman in Nigeria. Harold is stubborn, seemingly remorseless, and constantly lashing out against the optimistic elephant specialist who is so eager to save him from public execution. Their sessions are intercut with scenes from Lilly’s small-town setting. Harold’s tale initially appears to be a separate story, but a link is soon revealed between the two as the elephant’s attitude begins to reflect Lilly’s unraveling situation.
Brunstetter, known for her award-winning play The Cake (2017), and her work on well-known TV shows such as This is Us and American Gods, has a knack for writing entertaining dialogue. In Boned her characters’ exchanges and monologues are filled with clever double entendre, both sexual and literal. Eventually, some of these symbolic representations manifest physically — a dash of magical realism is used to enhance the plot without overpowering it. That is until the ending.
During the last “act,” the plethora of topics stacked into the play’s manifesto — violence, sexuality, morality, environmentalism — overwhelmingly compete with and eclipse one another. The eclectic, surrealistic elements which first cause intrigue start to feel superfluous and goofy. Exciting twists give way to contrived conclusions that are both choppy and incomplete. The only exceptions are the questions brought up in Lilly and Lara’s storylines regarding sexuality. The women’s paths begin amusingly, but their clear cut outcomes exude a sense of dowdiness that puts a damper on this otherwise progressive production.
Though the cast is not entirely able to navigate their way out of the plot’s pitfalls, they are the greatest advocates for the writing, each playing their characters to a tee. Larisa Oleynick (which children of the ’90s will recognize as the title character in The Secret World of Alex Mack) is the quintessential gawky innocent with a lovable spunky side. Nazemzadeh emanates suaveness as Richard. He and Oleynick feed off of each other brilliantly, bringing out the humor in their characters’ stereotypes with every discussion and squabble. The same goes for Oleynick and Ames, who is biting and brash as Lara. Amaya is convincing as a confused and traumatized smart aleck kid, and Ladnier is endearing as the sanguine elephant doctor.
The production’s overall design is also captivating. One of the most impressive aspects of the play is Harold’s puppeteer team, led by designer Sean Cawelti. Quinn, who conveys the elephant’s emotions goes deep with his facial expressions, which he pairs smoothly with the gentle control of the elephant trunk. Rachael Caselli and Amir Levi are excellent at maneuvering Harold’s legs and body, portraying a realistic quality to the gentle giant’s gait and grunts.
Christopher Moscatiello’s sound design adds power and vitality to the performances. Stephanie Kerley Schwartz’s scenic design makes good use of the stage, which is divided into multiple freestanding sections to represent the church, characters’ bedrooms and Harold’s holding cell. Martha Carter’s lighting design finesses the division between each set when they are in use. Adding to the setup is Mark Royston’s transitional shadow puppet design with Michelle Hanzelova’s graphic design displayed upon the Church’s stained glass window. The projections portray Lilly’s Biblical retellings and part of Harold’s story, emphasizing and expanding some of the narrative’s finer details. All of these elements are able to come together smoothly thanks to Robin Larsen’s direction.
Miss Lilly Gets Boned is a strange show with an approachable plot that tends to get lost in its grandiose messages. However, it’s good for some laughs and, after weeding through its more questionable stances and presentations, still has the power to trigger useful debates over the many issues it ask viewers to consider.
The Electric Lodge, 1416 Electric Ave, Venice; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; Mon., 8 p.m.; no performances Mon., 10/14 or Fri., 10/18; through Oct. 28. (855) 585-5185 or https://www.roguemachinetheatre.net/miss-lilly-gets-boned. Running time: one hour and 45 minutes with no intermission.
