Weapons

Reviewed by Paul Birchall
Fogbank Entertainment/Lounge Theater
Through May 8

The shadow of Eugene O’Neill looms large over the plot and writing of playwright Chris Collins’ angry family drama. That’s not a bad thing, mind you, as Collins lays the sadness and rage on so thick that Long Day’s Journey almost seems like a situation comedy in comparison.

Be prepared to be in attendance for the sort of tragedy that could have been avoided in a number of ways —  a week in AA, for example, or some family therapy, perhaps. But one of the rules of the angry family drama is that no one can ever do anything to help themselves until the end, when they do something ridiculous. 

Retired cop Paul (Cris D’Annunzio) at first seems to have the great American dream: After leaving the San Francisco PD, he has opened his own dive bar. But things are much darker than they seem: Following the death of his beautiful but judgmental wife, he’s become estranged from his hot-tempered oldest daughter Sarah (Paige Herschell). She blames him not just for neglecting mom while she was dying but also for taking up with sad-faced, insecure new girlfriend May (Madelynn Fattibene). 

When Bill (Matt Kirkwood), Paul’s unsuccessful actor younger brother, arrives for a visit, he learns that Paul was forced to retire following charges of sexual harassment of a co-worker. Before long, Paul and Sarah are roaring at each other, much to the consternation of Bill, May, and Sarah’s sweet younger sister Laura (Jodi Wofford), who fears for her dad’s sanity. 

With its hours of shrieking recriminations and confrontations, theplay registers an old fashioned drama of the “in vino veritas” genre, in which characters speak more and more truthfully and more and more hatefully the more booze they down.  And, yes, the characters here drink truckloads. Jack Daniels is almost a supporting character here, and so is white wine, and beer. And alcohol does the opposite of making folks happy: With each boozy guzzle, another hideous truth is dredged up like so many burps. 

Herein may lie the problem: Although there’s no rule that anyone must write an upbeat tale, the near-endless sadness of all these characters becomes deadeningly over-the-top. Finding a reason to cope with and resolve the questions raised, even to the extent of going into rehab for a bit — now that would be drama! Instead, all becomes venomous, until the venom even starts to spit more venom.

It doesn’t help matters that the work would be totally improved with a bit of pruning. The script is so overwritten that one finds oneself checking off the awkward turns of phrase, or the scenes in which five lines convey information where only one line would work effortlessly. That said, at its core, the play’s basic plot and structure are quite powerful and evocative.  It would only take another pass or two to make it absolutely compelling. 

Director Kiff Scholl’s earnest and emotionally organic production is appealingly intimate — you feel like you’re spending your evening absorbed in this family’s traumas. The ensemble adroitly depicts not only their characters’ rage and sadness, but hint at (and sometimes do more than hint) at the deeper issues within their family dynamic.   

D’Annunzio offers a ferocious turn as the brittle, self-hating (and self-medicating) ex-cop, as does does Herschel as the borderline hysterical and increasingly unhinged Sara.  As the sad-faced, suffering second-banana to Paul’s dead wife, Fattibene’s mild despair is especially moving.

Lounge Theatre, 6201 Santa Monica, Blvd, Hollywood;  Fri.-Sat., 8 pm; Sun., 7 pm;  through May 8.  (323) 960-7721 or www.plays411.com/weapons.  Running time:  2 hours with a 15 minute intermission.