Esther Guigui (Photo by Blain Clausen)
Reviewed by Julia Lloyd George
Whitefire Theatre
Through Nov. 24
RECOMMENDED
A ruthlessly ambitious striver rises from obscurity through unscrupulous means. It’s a familiar story, possibly the most American story there is. Most readers should be familiar with the Oscar-winning 1950 film, All About Eve, which starred Bette Davis as an aging star and Anne Baxter as the aspiring actress scheming to usurp her. The film was based on a 1936 short story by Mary Orr, who then adapted it into a play. All the nuts and bolts of the story have been preserved in director Bryan Rasmussen’s faithful and enjoyable revival. While living up to the film may be an impossible task, the play is similar enough to satisfy both loyal fans and people who don’t know the story at all.
The stage version is bookended by a prologue and an epilogue. Karen Roberts (Barry Brisco), the wife of a playwright, Lloyd Roberts (Eric Keitel), begins by telling the story of how she met Eve (Esther Guigui) who was hanging around in the alleyway next to the theater where a famous actress, Margo (Dahlia Waingort Guigui), was starring in a play. Soon enough, Eve herself emerges, looking wide-eyed and eager, to ask Karen if she can go backstage to meet Margo. She’s as obsequious and full of praise as one can be — weaseling her way into Margo’s dressing room and then into her life by telling lies about a tragic background. Margo, her ego fluffed, takes pity on Eve and hires her as her secretary. Eve gradually reveals her acting ambitions to Karen Roberts, becomes Margo’s understudy, and blackmails her way into an ingenue role in Lloyd’s new play. There’s also the expected dose of “sleeping her way to the top” as she attempts to seduce Margo’s producer husband, Clement (John Mese), then begins a serious affair with Lloyd.
Barry Brisco and Michael Mullen (who plays the dual roles of a tabloid journalist and a wardrobe dresser) bring an unanticipated number of laughs to their roles. Both Guigui actresses do a wonderful job; Esther does especially well projecting innocence and enthusiasm in the beginning of the play, while Dahlia is convincing as an imperious star drawing everyone’s attention with a mischievous gleam in her eye. There is less of the simmering resentment and bitterness that Bette Davis’s Margot oozes in the film — but there is still one fantastic argument between Margo and Eve when Margo realizes Eve has said horrible things about her to the press.
While I missed the film’s monologues about the effort that goes into being a woman or the ecstasy of applause, the play remains rivetingly rooted in the essential drama of betrayal and the anxiety of aging. It’s easy enough for anyone to imagine being in Margo’s position, fearing irrelevance and replacement. There’s also a conflicted sort of pleasure in watching Eve win against all odds, even though the nature of show business means she will soon be replaced by the next bright young thing.
Whitefire Theatre, 13500 Ventura Blvd, Sherman Oaks. Sat., 8pm, Sun., 7pm; through Nov. 24. (818) 687-8559. www.whitefiretheatre.com. Running time: 2 hours and 20 minutes with an intermission.
