By Joe Straw
This was the night the satellite was to come down on our
planet. NASA can never be precise about
the exact location of its ultimate colliding place. “It is to crash somewhere
in the United States. Revision: not in
the Northern Hemisphere. Third revision: in the Pacific Ocean. Fourth revision:
off the coast of Oregon. Fifth
Revision: Hollywood.”
Given my slightly offbeat imagination, I thought it might be
the reason for the Hollywood Street closures.
No, wait a minute; they close Hollywood down all the time.
So, okay, back to reality, Hollywood Street closings can
only mean one thing - a delay in show time, but no matter, it’s opening night
and the alcohol is flowing. And wouldn’t
you know it there was champagne in plastic cups with little blueberries,
copious amounts of beer, and wine. But
with the alcohol flowing and no intermission that can only mean one thing: During
the show somebody’s going to get up to make water, a few somebodies.
All right, this is all slightly insane, getting the audience
a little buzzed, is unusual but not out of the ordinary.
Love Sick has a subtitle, Love’s a Bitch With a Gun. Love Sick is a comedy that should have
another name. How about Deranged
love. Desperate Love. Misguided Love.
Love on the Rocks. Mind Snap Love. Something’s Loose, Love. Don’t Make it Hard Love. A Gun Makes me
Strong, Love. Don’t Waste your Bullets on me Love. Wrap Your Legs around this Love.
Love Stinks written by Kristina Poe and Directed by David
Fofi and presented by The Elephant Theatre Company through October 29, 2011 is having
its world premier. And like other plays
seen there one has to carefully absorb the events of the play. One will love
it, hate it, or think about it, forever.
Some may even try to wrap their mind around Fofi’s perspective or Poe’s
presentation of this comic insanity.
One of the fascinating things about “Love Sick” is this “puzzle”
that wanders in the back of your mind after viewing this presentation. One
could argue the merits of this finely acted production as being good or bad, comedy
or drama, black or white but the one thing that stays constant is that Love’s a
Bitch With A Gun. But is she really?
The story starts out with a crime. A disheveled woman, Emily (Alexandra Hoover) sits
next to a stall in dingy public bathroom.
Her clothes are torn. The mascara is dripping down her face. We immediately feel sorry for her. Something tragic has happened. She’s been violated. She is alone in the bathroom trying to
compose her self. She somehow manages to light a cigarette just as there is a
knock at the door. It is her friend Don
(Michael Friedman).
The lights come up slightly for us to discover there is a
man lying face down on the floor, not moving. He appears to be dead.
When Don enters and sees this he wants no part of it and he
takes his phone and tries to call for help. Emily takes his cell phone throws it in a
waste filled toilet, pulls a gun on him, and threatens to shoot him if she
doesn’t do what he asks. He withers like
a tulip long past its prime. She orders
him to take off the deceased’s belt and to throw his wallet and the belt over
to her.
And suddenly there is a remarkable transformation in
her. With the warm gun in hand she grows
more confident, self assured, a clear thinker, and able to seize the moment and
control the situation all with the careful placement of a gun barrel.
When she has the evidence with his fingerprints in her
purse. She tells him to get rid of the
body.
I’m having the best sex of my life. - Mom
Later Emily meets up with her mother in a bar, Mom (Melanie
Jones), is excited about her new love, a man she has just met and is going off
with him to some deserted island to have her coconuts (fill in the blank)
“I just killed a man.” – Emily
This gets no response from her mother, as she seems more
concerned about getting laid. And as
Emily lights a cigarette her mother tells her not to smoke, it will only kill
her. But her mother recognizes that she is
in some kind of trouble and gives her the name of a therapist that may help
her. Then the mom happily dances off to her next romantic adventure.
A man, The Man (Dominic Rains), has been standing at the bar, listening. She threatens to kill him when he comes on to her. But he relishes the prospects. In fact he takes her gun and points it to his heart and implores her to pull the trigger.
Emily doesn’t pull the trigger possibly because she senses
no fear in him, and that doesn’t excite her in the way that would make her want
to pull the trigger. There is something
strange about this man who doesn’t have a name and charms this woman into
seeking help.
So now Emily is in a therapy group run by Jerry (Christopher
Game). Jerry is probably someone who
does not have the credentials to perform this type of service but runs the
group to satisfy his own sexual desires.
He forgot the sugar. He borrowed
mine. – Helen
In the group is Helen (Etienne Eckert), a woman looking for big
love and little pies.
Chris (Kenny Suarez) needs support from all of these single
women in the group because his wife has left him. So broken up about it all he doesn’t see any
of the single women in the room. And, for some reason, they don’t see a single
man.
Shelly (Laura Harman) can’t hold onto a man for more than
one date. And Inez (Caryl West) has got a lousy card partner.
Emily is new to the group and is a little shy about spilling
her life to these complete strangers.
Jerry overseas the group and takes the initiative to corral
the emotions of all involved and lets each know their problem is heard and that
they are important members in this game of life.
As a source of reaffirmation they all get up and sing a
song.
First I was afraid
I was petrified
Kept thinking I could never live
With out you by my side
But then I spent so many nights
Thinking how you did me wrong
I grew strong
I learned how to get along
And so you’re back… - Gloria
Gaynors’ I Will Survive
But there is a sinister plot underneath. Jerry takes advantage of one of the younger
ladies in the group. Emily watches this
enfold and in disgust does away with Jerry, but only in the nicest way imaginable
(with a gun).
Later, Emily confronts her husband Jeff (Salvator Zuereb)
who is now living with his girlfriend Lexi (Kate Huffman) a former nature tour
guide. Emily brings a gun to this
meeting and a real truth is discovered.
Despite all the shooting, this is a comedy performed by a
fantastic cast. Unfortunately one is not
sure everything jelled this opening night.
Alexandra Hoover
as Emily has some incredible moments in this play. She is so caught up in the business of
killing and for all the wrong reasons.
When she discovers what a gun can do how much power it gives her, she
becomes a superwoman. But she is a woman
who’s got this love idea totally confused, and she is not living in reality on
this planet until she confronts her husband.
Michael Friedman
as Don has a strong New York accent. So
strong is the accent that it makes us believe the setting is in New York. His relationship with Emily lacked a connection
physically or emotionally and the opening needs work. Also, his relationship with the dead body
lacked a respect given to a deceased person, on the floor, in a bathroom,
somewhere in the naked city. Still Friedman
had some very nice moments and there was some really nice work going on here.
Dominic Rains
(The Man) was quite impressive as a mystery lover either real or imagined. He has no name and yet he appears from
obscurity to talk some sense into our tragic heroine’s head. He is a lover, with movie star good looks. He anticipates her thought processes and reads
between the lines of our confused, psychotic, gun-toting heroine.
Melanie Jones as
Mom was delightful in many ways. She is
in a hurry to see her beau and has little time to talk to her daughter but does
give her a moment to give her some motherly advice. Don’t smoke and get some help.
Christopher Game
as Jerry Fortund is one very watchable actor.
He seizes the character with such finesse and makes most of the little
moments he has on stage in a very creative way.
And his character has a problem in that he likes to take advantage of
women who may be susceptible to his advances.
In the real world, one should not share a fetish in public. Especially true in the presence of woman with
a gun and an axe to grind.
Laura Harman as
Shelly plays an attractive woman that cannot keep a man longer than one date.
She is very sympathetic but it is not clear why she cannot have a warm male body next
to her. Naive in a lot of respects and
very much controlled by Jerry, there is never a clear indication in character
of how things could have gone so wrong in her life.
Kenny Suarez as
Chris was quite incredible, especially in-group, where he recounts the reasons
for his marriage ending. For those of us
who have gone through this kind of thing, it really hits home. Still, this is a comedy. In group, on stage, the dialogue should lead
us somewhere, have an effect on and with character, which includes connecting
to various members of the group including Emily.
Caryl West as
Inez was charming who is without a partner, and a partner for cards, and now
she has a terrible card partner. It is a
tragedy because in life she has not played her cards right.
Etienne Eckert as
Helen was a lonely businesswoman who likes controlling the men in her life. The
problem is she doesn’t have a man in her life, with the exception of one guy
who comes over and makes tiny pies. And he doesn’t bring the sugar. How could
he forget the sugar?
Salvator Xuereb
as Jeff, Emily’s husband gives an outstanding performance. He has two battles going on one with his
current girlfriend and the other with his former wife. He valiantly fights off the demands of the
two competing women who vie for his affections.
And in the end a truth is revealed and beautifully done. This is a
wonderful performance.
Kate Huffman as
Lexi was very strong in the role. Very
charming and believable especially with claws extended. It was a very nice performance.
There is a second cast performing the roles Robert John Brewer as Chris, Don Cesario as Jeff, Charles Pacello as Jerry, and Nikki McCauley as Lexi.
Love Sick writer Kristina Poe has written a play that speaks
to David Fofi the director and while I’ve seen wonderful plays at The Elephant
Stages, Supernova, and Extinction, to name two that I have written up, I
believe the work on this world premier play is not quite finished for both the
writer and director.
Emily’s perspective is needed while she is on. Emily gets lost with the focus of the other
character rather than being affected by the events around her. This is
especially true when she is downstage left in group therapy. She should be upstage center with Jerry so there
is a better understanding of her thought process and her interaction with them.
While this seems like a minor physical
adjustment it puts Emily in the middle of all conflict, trying to find a
resolution, and reaching her objective.
Secondly, we really need to know if Emily is insane, and if
she is we need to see how this is affecting her character and how she relates
to the other character and their problems.
She must be seeing things (the man) feeling things (the killings) not
quite understanding things (the ending of her marriage). All of these things play
into the power she gets from having a warm gun in her hand.
Also, there is no sense of place. The program “Time: the present.” Where? New York, Los Angeles?
Set Design by Joel Daavid and Adam Haas Hunter gives us a set that can be manipulated
but does not sell the locations.
Don has to knock on a public bathroom door? Emily pulls a gun in a public bar? Bring in a
few chairs, group. Bring in a couch, an
apartment. Don is carrying a body part in an unspecified section of town that
goes nowhere. The set just confuses us into believing this a wharf somewhere
and not where we are supposed to be. Unless she is insane and then, this entire
thing works! Never mind.
Lindsay Allbaugh
and Cherryl Huggins and Tara Norris produced this show.
One needs to ask the question here: With an apparent rape or
assault victim, in tears, on the floor and a lifeless body lying a few feet
from her, how long does this imagery last before a comedy is a consideration? Taking this from tragedy to comedy in a
heartbeat is something that should be worked on until it is done right. (If you were an amateur, at home, you should not try this. Let's leave it to
these professionals to get it right.)
I’m going to introduce a new beginning. Pitch black on stage. A scream.
Three shots fired in the darkness.
The sound of a body falling. Cigarette lit; a confident Emily (with no
tattered dress, no mascara running) calls Don (close by) to get there quickly. He comes quickly. Comedy begins.
Also, for those of us who don’t smoke, please find a stage
cigarette substitute.
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