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| L - R Johnny Clark and Andrew Hawkes - Photos by Carlos R. Hernandez |
By Joe Straw
EXTENDED THROUGH SEPTEMBER 28, 2019
EXTENDED THROUGH SEPTEMBER 28, 2019
Austin (Johnny Clark) palms his lower jaw, elbows on the
table, staring at the sheets of paper and a typewriter with pernicious lines
etched on his face. He’s not getting
anything done now, whether it’s because of writers block, or the ominous blackened
figure behind him, staring at him.
As Austin thinks about his next move, the shadowy vibration becomes
visible in the focusing light, like a realized figment of Austin’s imagination.
Lee (Andrew Hawkes) has shown up, quite expectedly or unexpectedly,
in their mother’s house, while Mom (Carole Goldman) is off visiting
Alaska. It is “an older home in a
Southern California suburb, about 40 miles east of L.A.”
Austin feels Lee’s stares, his darker self, knowing any
question could trigger a tsunami of unwanted remarks or unprovoked attacks.
Just by the looks of him, Lee is a troubled figure, a
homeless wreckage of a man. Now looking like he has crawled through the Arizona
desert to get here. A blackened white
t-shirt hangs from his shoulders; a trench coat, over the top of that, throws
off dust and dirt at every passing turn. But, just to be fair, his worn brown shoes
match his belt and he shows some semblance of flair and style.
The aesthetic impressions will last forever, and that’s just
how Austin wanted it to be.
Also, Lee is not skin and bones, a practicality of knowing
how to procure an assortment of nourishment, possibly a left over pizza behind
a pizza parlor, or various forms of pilfering, and a mental list of pawnbrokers
at his disposals.
But, how and why did he suddenly appear? To be reacquainted with his long lost brother?
One thinks not.
Austin can’t help but offer a little smile.
Austin, suddenly stimulated by the creative juices flowing, takes
notes of his own appearance, looks to be a few years out of college wearing a
summer shirt and a crisp pair of ironed jeans. Not the sort of image of a
serious writer would be caught dead in like Hemingway, McCarthy, Kafka, Camus, Chayefsky,
or Bukowski. Not even Bukowski but that
was something else to ponder.
Vs. Theatre Company
presents True West by Sam Shepard, directed by Scott Cummins, and produced by
Johnny Clark and Andrew Hawkes through August 31, 2019.
If there’s one thing Austin did or didn’t need right now was
Lee being there. This was his time
alone, away from his wife and kids up north.
Languishing in the quiet time may or may not have been just for him and
his creation. Or, maybe he needed a primer.
And, as always, written conflict is created in the blink of
an eye.
Lee will leave only if he can get Austin’s car keys. Austin, under pressure, must get rid of Lee to
prepare for his meeting with a producer the following day. So, Austin reluctantly
agrees to the deal, turning over the keys and sealing the deal so that Lee does
not interrupt their meeting. What fun is that?
Beware of the dealmaker.
Their reasoning is unjust and their end goal is not to your benefit.
So, what is the deal?
After schmoozing with Austin for a time, Saul (David Starzyk),
the producer, is caught off guard by a homeless man carrying a TV into the
kitchen. Introductions are made and pleasantries are exchanged.
But, despite reservations, Saul takes a liking to Lee. Lee invites Saul to a round a golf, and even
invites himself to Saul’s club the following morning. It’s a date.
One can easily look at the play and view it from an
impossible angle. For some reason I found myself thinking that Austin and Lee
are the same man. It’s not far fetched thinking. This is
Sam Sheppard. The night sent me away
discovering a unique perspective, and one that would excite my overactive
imagination. Austin calls on his demon to get him through the day or through the
screenplay. They are never apart; they feed
on one another, and even change roles to benefit their needs. Seeing the play
from that perspective gives me inspiration.
So, why is Lee there? One cannot honestly say.
But, one is not sure if this was the intention of Scott Cummings, the director, visually
it suggests such, but whatever his intention was just blows the roof off of
this production, right from the start, on this night, and to this sold out
audience. I don’t think I’ve seen anything like this or thought about it with
so much fervor.
Still, I have some thoughts.
First of al Vs. Theatre is a wonderful theatre on Pico. Street parking is easy. Everyone there is
warm and welcoming. Seating is in the lobby until everyone is marched around to
the back entrance, through the vomitory, and to the seats.
The set, from Danny
Cistone, Production Designer, is the first thing you see—a kitchen with
unnerving slamming pantries, the same slammed by both brothers. And the dinning
alcove is downstage right center where most of the action takes place. And, at
the end of the show, the cleanup is significant.
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| L - R Andrew Hawkes and Johnny Clark |
Johnny Clark is
exceptional as Austin. Austin is the muse
to his brother’s action. Carefully taking mental notes during the course of his
observation. Wanting to embody his
brother’s successful and unorthodox ways, he becomes his brother. And, that he
finds, is or is not the answer. At first, Austin seems almost terrified that
his brother has appeared, and then accepting, but before turning, Austin shows
little regard to moving in his brother’s stead.
Andrew Hawkes as Lee
prowls around the stage waiting for openings to strike. Hawkes’ backstory is prevalent and his craft
awe-inspiring. He is constantly thinking
and relaxed in concentration as he moves about the stage. There is hardly a wasted movement. The pencil
scene needs a slight focus. Not only is he trying to find the pencil but he is
showing his brother how a desperate man behaves for the need of this one tool.
David Starzyk has
always impressed me with his work since seeing him in The Closeness of the
Horizon by Richard Martin. Here, as the producer Saul, he is manhandled by the
creative types that surrounded him and he is able to move with the punches.
Dodging and weaving to get the best deal is his motto. Maybe, Saul should find a way to win before
leaving.
Carol Goldman has
her moments as Mom coming back from Alaska.
She comes back home to find a mess, and the mess is all she can see. She
pays scant attention to the one or two men in the room, especially in the end
when she leaves in frustration. Those relationships need to be clearer and
probably will be during the course of the run. Still, Carol is very funny in
the role.
Gelareh Khalioun, Costume Designer, places all actors
beautifully in the 1980s.
Derrick McDaniel, Lighting Designer, gives complete focus to
the director’s ideas.
I love the sound of Lindsay Jones’ (Sound Designer) crickets
in this production.
This is the first time I’ve come across a “Violence
Designer”. Ned Mochel was that man and the end is very graphic. A job well done.
Other members of the crew are as follows:
Justine Vickery – Assistant Stage Manager
Marcy Capoferri – Box Office Manager
Brian Dunning – Graphic Designer
Run! Run! Run! And take a writer friend with a highly active
imagination!
To purchase tickets,https://vstruewest.brownpapertickets.com or
for more information, please visit ww.vstheatre.org.
Vs. Theatre
5453 W. Pico Blvd.
Los Angeles, CA
