Thomas Decker and Darcy Rose Byrnes (Photo by Andrew Patino)
Reviewed by Katie Buenneke
The Whitley
Through August 18.
Reefer Madness is, if you’ll pardon the pun, a home-grown show; it first premiered in at the Hudson Backstage Theatre on Santa Monica Boulevard in Hollywood in 1999, from where it transferred to off-Broadway in 2001. In this 25th anniversary production, it is playing a mile due north of the Hudson complex, at the frequently-renamed/rebranded space on Hollywood Boulevard urrently called “The Whitley.” (It was, for many years, better known as King King.)
It’s an infrequently produced show, but has all the trappings of a cult classic, even if not much about it besides the title and one-time cast members (including Alan Cumming, Kristen Bell, and Christian Campbell, who are producers of this staging) is in the popular lexicon nowadays.
Despite the energetic ensemble high-kicking, under Spencer Liff’s direction and choreography, this production doesn’t capture whatever culture cachet that made the show an underground sensation a quarter century ago. Some of this is due to a surfeit of sincerity; it doesn’t read as camp, which feels like it should be inextricable from a text like this, which sends up a 1936 film of the same name that very seriously warned audiences about the dangers of marijuana. But a not insignificant part of that is likely historical context. Everything about pot culture used to feel alternative and thrillingly illicit, but we now live in an era of corporate-owned dispensaries and canna-bros. Even just opening the show’s program, the first two pages are logos of the production’s 40 sponsors, 22 of which are marijuana-related products. This combines into a tonal misfire.
The show’s story follows Jimmy (Anthony Norman), a clean-cut 16-year-old who is dating the equally wholesome Mary Lane (Darcy Rose Byrnes). But one day, in search of swing dance lessons, Jimmy accidentally winds up in the home of Mae (Nicole Parker) and Jack (Bryan Daniel Porter), where he smokes a joint, and immediately becomes hooked. This, of course, ruins his life a little bit (most of the characters kill and/or are killed), until, thanks to F.D.R., he is pardoned.
The leads are all fine, if somewhat outshone by Nicole Parker’s Mae and J. Elaine Marcos’ Sally and the dancing ensemble (Andre Joseph Aultmon, Claire Crause, Jane Papageorge, and, at the performance I attended, Patrick Ortiz).
Thanks to a few catchy and oft-repeated hooks, Kevin Murphy and Dan Studney’s score is hummable, but their book isn’t as strong. Perhaps it plays better when the camp shines, or to a stoned audience, but to me it felt tiresome Liff’s choreography is stronger than his staging, which, combined with Mark A. Dahl’s set design, feels very reminiscent of the 2005 movie version of the musical that aired on Showtime.
It’s also worth mentioning the ticket price for this show—standard seats cost $86, including fees, and from what I heard from other patrons, may offer a restricted view, due to the production’s immersive staging all over the space. The seats my friend and I were in, while a great view, are sold for over $230 each, which are about as expensive as any theater ticket in the U.S., and far more expensive than many better shows in L.A. While this Reefer Madness was watchable, I’d be hard pressed to recommend it, especially at this price.
The Whitley, 6555 Hollywood Blvd., Hollywood; Th.-Fri. at 8 p.m., Sat. at 2 and 8 p.m., Sun. at 2 p.m., through August 18. https://Reefermadness.com. Running time: 85 minutes with no intermission.
