Salvage
Reviewed by Iris Mann
Lounge Theatre
Extended through January 19
RECOMMENDED
Rarely does a theatergoer encounter as seamless a marriage of script, song, direction and performance as in Salvage, Tim Alderson’s emotionally captivating gem of a play.
The title refers in part to the possibility of salvaging lost souls. Alderson examines various aspects of the human experience: ambition, broken dreams, responsibility for others, bitterness, and, ultimately, hope. “Having a dream is like running with scissors,” says one of the characters, who has failed to realize his potential. The story unfolds in layers, as revelation follows revelation and secrets are uncovered, so that we are constantly surprised.
The play begins with Harley (Christopher Fordinal), a young man in his twenties, entering a down-and-out bar that he believes to be the place where his country music idol, Floyd Whitaker, committed suicide. An aspiring singer-songwriter, Harley nonetheless plans to pawn the guitar he had struggled to buy in order to support his pregnant wife Destiny (Nine Herzog) and pay their bills. He questions the surly saloon owner, Johnson (Leonard Earl Howze), about Whitaker, but Johnson brushes him off and tells him that he can either buy drinks or leave.
In a corner of the bar sits an unkempt, near wreck of a man, a former clergyman called Preacher (David Atkinson), who starts strumming his guitar and singing, “I’m So Tired of it All.” At first, he derides Harley’s sense of responsibility and sunny disposition. But as Harley begins to play and sing, his attitude changes as he comes to recognize the young man’s talent.
The two very slowly begin to communicate. It turns out that Preacher and Whitaker were musical colleagues and that they both grew up with Johnson. Gradually, a back story of disillusionment, jealousy, exploitation and betrayal is laid bare. The story builds to an unexpected ending that may seem too pat to some theatergoers but somehow adds to the serendipitous sensibility of the piece.
Most of the searing songs (by Alderson, Pat Terry and the late Mark Heard and Randy VanWarmer) pre-date the play — yet they precisely reflect the inner lives of the characters who perform them.
Damien D. Lewis directs with a sure hand and a certain touch, in a theatrical production grounded in an edgy reality.
The performances are uniformly splendid. It is unusual to find such strong actors that are also equally accomplished musicians. Atkinson, who is vaguely reminiscent of Kris Kristofferson, maintains the specter of a ruined yet still attractive man throughout the evening. He projects a mesmerizing grittiness, inner rage and self-pity that eventually morphs into a hint of the inner pain and despair that torment his character.
The dynamic Fordinal is equally appealing — conveying Harley’s essential decency, youth and kindness, as well as a wistful sense of loss when, at the beginning, he prepares to abandon his hopes.
Howze has no musical numbers; instead, his character acts as something of a narrator and truth-teller. Johnson’s exasperation with Preacher’s self-pity and nihilistic attitude is sharp and pointed, while Herzog, who has a lyrical voice, provides a leavening presence as Harley’s understanding spouse. She is quietly engaging and sympathetic.
Lounge Theatre, 6201 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Sun., 3 p.m. (dark Dec. 27, 28, 29); extended through Jan. 19. (323) 960-7712 or www.Onstage411.com/Salvage. Running time: 90 minutes with no intermission.
