Never Ever Land
Reviewed by Dana Martin
Theatre Unleashed
Through October 27
Theatre Unleashed starts with the man in the mirror. Playwright Rider Strong’s new play Never Ever Land deals with the accusations of sexual abuse made against Michael Jackson in the early 90’s and the subsequent charges brought against him. The story is all but ripped from the headlines and draws heavily on the allegations of Jackson’s real-life accusers. Strong does a decent job of dramatizing these events without ever mentioning the singer’s name. While the subject matter is compelling, Never Ever Land never quite packs the punch it promises.
The Gable family has problems. Divorced parents DeAnna Gable (Marie-Francoise Theodore) and Jerry Gable (Josh Randall) are shallow and self-interested struggling artists. Gerry is a dentist with screenwriting ambitions while DeAnna is an out of work actress. The former couple regularly use their adolescent sons Tim (Marcello Silva) and Jacob (Orlando Christian) to advance their own interests. Tim is a former child star whose offers have begun to wane. No longer the family’s meal ticket, he’s cast aside by DeAnna. Meanwhile, after battling a near fatal childhood illness, Jacob has struck up a friendship with the world’s biggest pop star. DeAnna seizes the opportunity to rub elbows with pop royalty and accompanies Jacob and the star on expensive vacations and visits to his private estate. Jerry grows suspicious of the attention shown his son and presses Jacob on the particulars of the relationship. The family makes public accusations of abuse against the star and is left with millions of dollars in an out-of-court settlement — and irreparably damaged relationships.
As adults, Tim (Andrew Brian Carter) and Jacob (Wade F. Wilson) spend nearly 20 years estranged. Tim threatens to accuse Jacob of fabricating the allegations he made against the pop star, and after years of separation the two are unhappily reunited. The story oscillates between 1993, just before formal accusations by the Gamble family are made, and 2012, following the never-named pop star’s death.
Leif Gantvoort is outwardly sleazy as tabloid TV star, Vincent Hark. Marie-Francoise Theodore’s DeAnna is controlled and unsympathetic. Josh Randall is an overbearing, intimidating presence as Gerry. Wade F. Wilson’s Jacob is satisfactory if a bit generic. The same can be said for Andrew Brian Carter’s Tim. Ashley Platz is surprisingly empathetic as Erin, Jacob’s girlfriend with ulterior motives. Orlando Christian delivers the most authentic performance of the evening as Young Jacob.
Director Michael A. Shepperd finds clean transitions and keeps the tempo moving but the action is periodically over-staged. Video design by Shiloh Strong and Rider Strong clarifies the play’s shifts through time and evokes a 90’s nostalgia. Nicholas Acciani’s set design is spare and an intelligent use of the space. Michael Teoli’s original music is mostly knock-off versions of Jackson’s greatest hits. Costume design by Denise Barrett is clean and simple.
Never Ever Land has all the elements of an intensely dramatic story but never narrows its focus: Its most crucial and dramatic events are only referred to in conversation. None of the characters as written are especially likable or redeeming and the story’s most important character is never seen or heard. The accused remains comfortably anonymous while the victims are forced to live with silent acceptance. The truth remains obscured by greed and blinded by the prospect of fame. There are no heroes and no justice — only victims of a selfish kind of love.
studio/stage, 520 N. Western Ave., East Hollywood; Thurs.-Sat., 8 p.m.; Sun., 7 p.m.; through Oct. 27. theatreunleashed.org. Running time: two hours and 30 minutes with one 10-minute intermission.
Jim castor
October 16, 2019 @ 12:23 am
The accused remains comfortably anonymous while the victims are forced to live with silent acceptance.
Why do you call accusers victims but the accused is just accused?
Those who are falsely accused are victims.
And in this case Jackson was the victim of a psycho father who first demanded a house and screenplay contracts from Jackson when he didn’t get them he took custody of his son, drugged him, coached him and blackmailed Jakcson if he doesn’t pay they would accuse him
When Jackson refused to pay why accused him and sued him and used CA’s speedy trial law to get the civil case go first, forcing Jackson to either take the fifth or settle the civil case if he wanted to protect his defense info for a possible criminal trial.
Worse, the father concocted the allegations with the help of Victor Gutierrez, the NAMBLA supporter pedophila advocate who was the first to call Jackson a pedophile before anyone accused him and contacted parents to convince them to accuse him. When he was finally succesful with Evan Chandler he published a pro pedophilia book Michael Jackson was my lover and sold his pedophile fantasies to tabloids
Ricsiko
October 31, 2019 @ 9:24 am
The last paragraph has not much to do with the rest of the review. The play clearly does not describe the family as “victim”. Yet, the article in the end – just out of the blue – clearly takes stand by calling them as victims – opposite to the “unnamed” famous person. How is that objective, professional journalism is beyond me.