(Photo by Eric Keitel)
Reviewed by Martín Hernández
The Count’s Den
Through April 12
RECOMMENDED
What better way to experience the macabre tales of the 19th century author Edgar Allan Poe than in the dark? In adapting two of his more familiar stories, this production dispenses blindfolds to audience members upon arrival, with instructions to cover their eyes once each play begins. Audience members are also advised that there will be “moments of incidental touch and smell during the performances” so you are forewarned. The performers’ voices, in tandem with the phenomenal sound design of Joseph “Sloe” Slawinski, and other chilling effects (things that go bump in the night) pay homage to one of America’s master storytellers.
First up is “The Pit and the Pendulum,” adapted and directed by Paul Millet. It’s Toledo, Spain circa the early 19th century. The Recusant (Joe Camareno, dual cast with Melissa Lugo on select dates) recounts his conviction and imprisonment by the Spanish Inquisition. Initially able to wander in his dark dank cell, he laments his condition as his voice becomes more histrionic with each passing lonely hour. With no daylight to guide him, The Recusant has no sense of time as he endures rats scurrying about that we too sense from sound and motion. When he awakens from a deep and possibly drug-induced sleep, he finds himself tied to a platform underneath a swaying pendulum slowly whooshing towards him. As the sharp scythe-like edge descends closer to his chest, will he find a way to escape or get sliced in two?
In Directed by Gabrieal Griego, Millet’s adaptation of “The Tell-Tale Heart,” to include flashbacks, broader relationships amongst its characters, and a more complex plot line. When police officers Dupin and Auguste (Andrew Thacher and Andrew Villareal respectively) knock on his door to investigate recent loud screaming coming from his house, Edward’s (Eric Keitel) mind harkens back to the source of the shrieking. “You fancy me mad” is Edward’s edgy query to the audience as he moves back and forth in time during his psychic breakdown — obsessing over his Uncle Stephen’s (Richard Large) filmy blue “vulture” eye as well as the cacophonous poundings (that only he hears) which foment his guilt over his commission of an ignoble act.
While the staging and interplay between the actors is unseen, they nonetheless strategically move about the stage, allowing for talented vocal deliveries from unsuspecting places in the large salon-like setting. The same holds true for Slawinki’s sound design, which abounds with the noise of a roaring swinging pendulum, rattling chains, creaking doors, and other effects to make one squirm so as to find a comfy chair and enjoy the queasy ride.
The Count’s Den, 1039 S Olive St, downtown LA.; Fri.-Sun., 8 pm; thru April 12. https://theatreobscurala.ludus.com/ Running time 85 minutes, including a 15 minute intermission
