Oppenheimer

Reviewed by Terry Morgan
Rogue Machine
Through December 30

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Although Rogue Machine is a small theatre company, it’s always punching above its weight class and generally achieving whatever artistic challenges it sets for itself. This year the group had a particularly difficult task — it had to find a new home, a misfortune that sometimes sinks otherwise stable organizations. Thankfully the group has now relocated to the Electric Lodge in Venice. One might think Rogue Machine would rest on its laurels. Nope. To the contrary, it has just opened a new drama, the American premiere of Tom Morton-Smith’s Oppenheimer, an ambitious piece that features twenty-four actors. It’s a strong, compelling production.

In 1939 California, J. Robert Oppenheimer (James Liebman) is teaching college physics and participating in communist organizations with his lover, Jean (Kirsten Kollender). Eventually he sours on Russia due to stories of their prison camps, and he leaves the idealistic Jean to take up with the eminently practical socialite Kitty (Rachel Avery). When he’s approached to build an atomic bomb before the Nazis do, he puts together a group of the best theoretical physicists he can get under the military supervision of General Leslie Groves (Ron Bottitta) — and becomes driven to save his country regardless of the cost.

Liebman does such a good job as Oppenheimer that it feels more like an incarnation than a performance; he presents both the man’s arrogance and increasing inner doubts with admirable artistry. Kollender is affecting as the “sincere lush” Jean, Oppenheimer’s last link with his liberal past, and Avery is bitchily amusing as the sterner Kitty, drinking and smoking her way through two pregnancies. Bottitta is terrific as the gruff Groves, and gets great support from Landon Tavernier as the officious Captain de Silva.

Mark Jacobson and Jennifer Pollono are superb as Bob and Charlotte Serber, a married couple assisting with the Manhattan Project. They provide a warm and funny contrast to the increasingly chilly and domineering Oppenheimer. Ryan Brophy is memorably good as Oppenheimer’s brother Frank, forever in his older sibling’s shadow. Michael Redfield and Dan Via are terrific as fellow scientists Hans Bethe and Edward Teller, respectively. Finally, Delilah Bank, a fourth-grader in real life, delivers a serious monologue about the effects of the Hiroshima bomb with the skill of someone twice her age – an impressive feat!

Director John Perrin Flynn stages the production with finesse, switching from large ensemble scenes with songs and choreography to intimate conversations without missing a beat. He gets excellent performances from his cast, which is loaded with some of the best actors in town. Dianne K. Graebner’s costumes are colorful and seem period-accurate, and Nicholas E. Santiago’s projections of chapter headings and molecule animations add extra visual flair to the proceedings.

Morton-Smith’s play is an exploration of historical and scientific ideas, posing such questions as whether the transition from idealism to pragmatism is always a good one or detailing for us the processes that led to the atom bomb and beyond. It’s undeniably interesting, provocative stuff. My only quibbles are that for a play called Oppenheimer, the pivotal character remains somewhat opaque — although this may have been a deliberate choice by the playwright. Also, the play runs three hours, and a bit of tightening might make the show even more effective.

Oppenheimer is an impressive achievement and a promising debut for Rogue Machine’s new home in Venice.

Rogue Machine at Electric Lodge, 1416 Electric Ave., Venice; Sat., 8 p.m.; Sun., 3 p.m.; Mon., 8 p.m.; through Dec. 30. www.roguemachinetheatre.com. Running time: approximately 3 hours and 5 minutes, including one intermission.