By Joe Straw
Theatre is a business.
That’s plain and simple. The idea
is to be seen and connect to an audience.
If there is no one in the audience, with the exception of the two
reviewers and their dates, has everyone done their job?
Phillip Sokoloff (publicist) got the reviewers in and, at
least for this night, that job was accomplished. Ed Krieger, the photographer, did his job.
Jane Edwina Seymour curated, produced and directed the monologues. That, in and of itself, was an
accomplishment.
But, what about an audience? Unless every actor is new in
town, has no friends or acquaintances, or everyone they know has suddenly
gotten the plague, there is no excuse for each actor not to have two or three “friends”
filling up the seats. Eight scenes, eight actors, mean that there should be 24
patrons in the audience at the very least, every night, that is if they want to
be seen.
Inviting no one, on a Saturday night, is an exercise in
futility for the actor. Not blaming
anyone but one part of this endeavor, this job, is for the actor to be seen, to
get people into the theatre, because in reality, no matter the venue, actors
need an audience to find a connection, to give, and to get feedback.
RPW & stories about humans present The Road-Trip Monologues Raw
bites ’18 new writing for stage, curated, produced and directed by Jane Edwina Seymour
at The Zephyr Theatre through July 22, 2018
For the most part, the monologues are about travel, which interested
me having traveled across the country twice in my youth. But some were not and that was rather odd, or
maybe it was the travels in their lives. The
actors’ character names were also not in the program, and that was odd as well.
The play, on this night, starts with a woman reminiscing
with travel slides projected on a small screen far upstage left. But the slides on a carousel were too small
to make out, other than each travel photo is in a different time and place. It
must have been part of the show because the “old skool” projector screen got a
credit in the program. The projector and screen left when Jane Edwina Seymour
presented the night.
Hypocrites &
Stripper by Kem Yaged
Laura Walker (actor) is thrown out by her live-in stripper
girlfriend, shoes and all, and, with nothing but her car, decides to travel across the country to
start anew, only to end up with another self-infatuated stripper who takes pleasures
in self-gratification in Los Angeles. Walker's focus should be on the character. The
character doesn’t seem too bright and we need to see how that trait always gets
her into trouble. Also, in terms of character development, the best thing she could have done was to
wear the shoes thrown at her and then play out the scene. (Or, at least, do it in rehearsal to figure
more about both of those characters.) Also, the whys of how she gets
pulled into these relationship must be explored. Walker should also relax. Most
of her action was pushed, hard, leaving little room for character exploration
and development. We get that she is mad
(angry facial expressions) but we don’t see what is carrying her to her
objective, whatever that objective was.
There are some interesting things in Yaged’s writing and
they are mostly about relationships and what people expect when engaged in relationships.
The Weary – Michael
G. Hilton
Schafer Bourne (actor) brings in a Coke, a 20 oz. coffee container,
and a bottle of Evan Williams Whiskey. (Funny,
with all those props, he never mixes the drink. Probably best to use it or
discard it if it is not useful in the scene.) He takes a few drinks from the
whiskey bottle, calls his friend (or brother) Mikey, and leaves a very long
message about the trip they took with his or their father long ago when they
were nine. He asks Mikey why he hasn’t
called and that is never resolved during the course of the monologue. A bit farouche he never manages to express what
is truly on his mind. Bourne brings enough of his natural self onto the stage
but he really should decide about his objective and where the monologue is
taking him. Defining the relationship is critical in determining where the
character is going.
It seems like there is something missing in Michael G.
Hilton’s work mostly having to do with the relationship between the character
on stage and Mikey, why they fell apart, and why they don’t see each other anymore.
Boot’s Vacation – by
Rex McGregor
Emma Chelsey plays Boots, a skateboarder, and makes an
unforgivable mistake in her entrance onto the stage. She doesn’t skateboard on stage, she doesn’t
show us what she can do, and that is absolutely essential for us to see. It is a defined truth that gives life to all
she speaks about on stage. Also,
everything is described in degrees, and slopes, until the character reaches the
Guggenheim museum when things didn’t necessarily change in the mind of the
character. But the Guggenheim museum appears
to be the answer, the eye-opening moment, where children put away their toys.
Rex McGregor gives us some interesting moments about a
person growing up and understanding there is more to life than skateboarding
across the world.
Roller Coasters – by
Lesley Asistio
This is a story about a woman, Juliet Ladines (actor), whose
childhood abruptly ended after the divorce of her parents. Her dad was cheating on her mom and her mom was
involved with another woman. Ladines is sensible in her approach to the role
but more is needed in character to define the character and her objective.
Lesley Asistio has written a monologue with characters that
are clearly defined in the mind of the character, the cheating father, the
lesbian mother, the girl who wakes up in adolescence to discover things are
different in the world she now observes.
Medea by Chas Belov
Medea (Nina Sallinen) has committed four homicides,
including her kids, and is certifiably nuts.
Not sure what this has to do with traveling. More character work is needed
to convince us she is in a medical lockup situation and, even though she is
nuts, she needs a stronger creative choice to carry her objective.
One did not get Chas Belov’s story, or where it was going. There must be a reason the character is
telling us the story but at the end of it, what does the character learn?
New Girl by Roger
Vickery
This is a story about a woman (Kenlyn Kanouse) who has
escaped a Nazi concentration camp and is mentoring another woman who may not be
right for her grandson. The road she has
traveled has been difficult and one supposes she is preparing the “new girl”
and her difficult road ahead. The
character needs an objective and a life with exigency for purpose.
There must be a point to Roger Vickery’s story. It is Kafkaesque in purpose but without the
bond that cements her peculiarities. If
there was a purpose, I didn’t get it. Not in this carnation.
Crossing the Bridge
by James Balian
Henry Kemp (actor) was a father with a young son who has
suddenly become ill and a decision is made to put him into the car and rush him
to the hospital when his temperature spikes to 108 degrees (not sure if that
was a slip by actor Kemp – 108 degrees is usually fatal.). The conflict is one
of a race against time. He is driving over a bridge during rush hour with his
child in the back seat as son’s life hangs in the balance. Kemp does a fine job and manages to live the
monologue throughout. There is more work
to be done in character but it is a fine job nonetheless.
James Balian writes descriptively, the story moves
seamlessly, and the visuals play upon deep emotions that all parents go through
when their child is burning up with a fever. This was the most enjoyable scene
with a very loving ending.
Hope for Us All by Doe
Andersen-Bloomfield
Sonya Wallace (Shanqua) has a two-hour wait for a train. She meets Amorose (not on stage), a bartender
in the train station. Shanqua and Amorose strike up a conversation when
a nearby person is seen on television having a racist diatribe against African
Americans. Shanqua is meek when confronting the man while Amorose is not and Shanqua
must stand for what she believes.
Doe Andersen-Bloomfield fills in the empty space with
differing lives, a bar, and wonderful relationships of real people who inhabit
this world. The title is Hope for Us All
but one did not really see how the character reaches that point.
Zephyr Theatre
7456 Melrose Ave, Los Angeles, CA 90046
Run! And take someone you would like to take across the country.
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Zephyr Theatre
7456 Melrose Ave, Los Angeles, CA 90046
Run! And take someone you would like to take across the country.
Why post this, Joe? This is such an unnecessary review. You clearly have many thoughts, and your 17 followers are no doubt crying out to hear your hot take, but surely these notes would be better served in an email to the director?
ReplyDeleteExcept that I'm yet to see from your biography what makes you qualified to give them...and thus why you weren't brought on as a creative consultant in the first place...
I also take umbrage at the notion that theater is a business. I would dispute your assertion that it's "plain and simple". Few things in life are so black and white, so corporate. Certainly not theatre in Los Angeles. Who puts on a play in this town as a business decision? You're an accountant - it's a terrible venture. Instead it's for the process, the experience, the joy. You, instead, seem to have little regard for the craft, for actors, for endeavor - because you're certainly not helping.
Email me Joe, I'll give you my number, we can debate this further. I'm sure you, yourself, are open to criticism?
You don't give your name. How can I respond to you personally?
DeleteFirst, my qualifications:
My work has been in all facets of entertainment, theatre, television, and films. My work, over 40 years, has been as an actor, director, a writer, and a producer of independent films and in theater. And yes, I have also worked as an accountant on over 100 films and multiple television shows.
And, also, as the Local President of SAG/AFTRA EEOC committee I have championed diversity in the entertainment workplace
I have studied many years and continue to study by observation, readings, and being present at over 300 theatre productions in Los Angeles.
Now, about the review:
All endeavors in entertainment are business ventures. Actors perform to be seen and to gather more work from their performance (hopefully paying jobs) so the performances must be top notched. It is the job of the actor to be seen however that manifests itself.
Carmody, read my other reviews of shows that were successful, and that got people into the theatre. You will understand why I write about the craft, the good, the bad and the indifferent.
"Unnecessary?" Possibly but any observation noted is another feather in a cap, someone's cap.
Also, I'm not ubiquitous, my notes to directors are limited to those I have built relationships with, and in the case of your show, I wasn't asked.
I make observations – like them or not. It is never my intention to be unkind but to be as truthful as I can be.
This is a blog, I write about theatre in Los Angeles (and occasionally in New York). I cover theatre that highlights diversity, which is why I came to see this show.
Also, I am nearing 300,000 hits on my blog, from all over the world. So although I have only "17 followers," someone must like what I'm writing.
Thank you for your comments! Cheers.