Emanuela Boisbouvier and Gus Schlanbusch (Photo by Matthew Acho)
Reviewed by Madison Mellon
Aegis Theatre Company at The Broadwater Black Box
Through October 19
Mirroring the titular bird that, mythically, rose from the ashes, Scott Organ’s Phoenix chronicles the death and transformation of a relationship. Organ’s play is a relatively light, fast-paced romantic dramedy that stays engaging throughout. However, the whole piece feels insubstantial, and neither character seems to be particularly changed by the end, leading to an experience that is ultimately unfulfilling.
Phoenix follows the story of Sue (Emanuela Boisbouvier) and Bruce (Gus Schlanbusch) as they reconnect following a one-night stand, Sue discovers she is pregnant with Bruce’s child, but is uninterested in commitment, and her job as a traveling nurse prevents her from settling down. She plans to go to Phoenix, Arizona to have an abortion, and Bruce decides to follow her across the country to join her. The two must wrestle with what, if any, future they might have together.
The overarching issue with Organ’s play is simply that not much of consequence happens during its 70-minute runtime. We learn tidbits about each character’s past, and there is an attempt at an “11 o’clock” revelation that does not land with the impact it should. The story does not make a convincing case that these characters have meaningfully affected each other, or that it’s of particular importance whether or not they end up together. There are some interesting exchanges, however, particularly regarding the various ways people process past tragedies and confront the fear of potential future tragedy.
The direction, by Michael Yavnieli, keeps the energy high throughout the piece. While the staging is very simple and utilitarian, none of the scenes drag or overstay their welcome. The bare-bones design (technical design by Nick Howard) feels more like a workshop or staged reading than a finished production. The transitions are each accompanied by a projection of a nondescript photograph of the location, and sparse pieces of furniture set the scene. Giving the production a clearer aesthetic point of view would help establish the world more fully and could give more insight into these characters.
Both actors give effective performances and have a strong rapport with one another. Schlanbusch does come across as a bit overbearing at first, but his characterization of Bruce becomes more sympathetic as the play goes on. Boisbouvier is naturalistic and believable, although Sue spends the vast majority of the play with her emotional walls up, giving her somewhat limited range to work with.
In the end, this production has many elements that do work, and it comes together as a cohesive whole. The play presents a handful of interesting ideas, and the production is solid and competent. In the end, however, it does not leave a significant impression, nor does the play fully explore its characters or the challenging topics it broaches.
Aegis Theatre Company at The Broadwater, 1078 Lillian Way., Los Angeles. Fri.-Sat., 8 p.m.; Sun. 7 p.m. thru Oct. 19. https://lnkfwd.com/u/JoRnS-iT 70 minutes with no intermission.
