by Joel Elkins
In 1973, Secretariat completed the Triple Crown by winning the Belmont Stakes against the fastest thoroughbreds in the country by an unprecedented 31 lengths. When Babe Ruth hit 54 home runs in 1920, he not only outhit every other player that year, but every other team. And during their heyday, The Beatles once had twelve songs in the top 100, including all five top positions. Some people, some groups, some performances are just in a league of their own.
Two productions currently running in LA exhibit a pair of these standout performances.
The first, Shining City playing at the Fountain Theatre, is a play about Ian, a therapist whose life, whether or not he realizes it, seems to be paralleling that of one of his patients.
The action, if one can call it that, takes place in a brick walkup in Dublin that the protagonist uses as both his residence and his office, another indication, perhaps, that the line between his personal and professional lives is not as well-drawn as it might be. The five scenes (all one-on-one between Ian and one other character) intersperse sessions with his patient, John, and scenes from his own life. The parallels between what John conveys during these sessions and developments in Ian’s own life are unmistakable. Whether it’s all a coincidence, the power of suggestion or something else is up to the audience to decide. The fact that “Ian” and “John” are variations of the same name is the first indication they may be alter egos but the fact that none of the other characters ever meet suggests the possibility of something more. Indeed, on the surface, Shining City is a very simple play, mirrored in its informal, conversational dialogue. But it leaves a lot of unanswered questions (including the meaning of the play’s title) for the audience to ponder.
Given that he is the only character to appear in every scene, one would think that Ian would be the main character – and nominally he is – but most of the lines are spoken by John, who during his sessions relates to Ian in great detail about his struggles to deal with the loss of his wife, his guilt over her death, his mid-life crisis, and other things. Morlan Higgins, in that role, delivers an absolutely masterful performance.
The term “prosaic” to describe Conor McPherson’s script is neither a derogatory nor a sufficient characterization. With lines not much more descriptive than “I didn’t, y’know . . . just couldn’t, . . . she . . . you know what I mean,” Higgins is able to tell his story through inflection, facial expression and body language. One monologue continues uninterrupted for about ten minutes, but is all the while poignant, personal and captivating. Anyone who appreciates the art of acting owes it to himself to see this performance, and it should be required viewing for any acting student.
The rest of the cast, William Dennis Hurley as Ian, Kerrie Blaisdell as his girlfriend and Benjamin Keepers as his “indiscretion,” all do admirable work, and all with convincing Irish accents (a credit to director Stephen Sachs and dialect coach JB Blanc), but, like Soliere, all but disappear in the shadows of Higgins’ Mozart. Shaun Motley’s set and dramatic lighting by Ken Booth help set the mood.
As for the second of the two productions, I was originally scheduled to see Life Could Be A Dream at the Hudson Theatre way back in August, but, what with the realities of life, things just didn’t seem to work out. After the run was extended a couple of times, I finally got my chance this past weekend, and I was eager to find out what all the hubbub was about.
Well, I now know why Dream has been playing to sold-out performances. A “sequel” to The Marvelous Wonderettes, it is a feel-good, upbeat crowd pleaser with familiar music and a talented cast and, like most revues, just enough plot to hold it together. This one tells the story of a group of kids preparing for a local talent search contest, but is really just an excuse for some good 50-60s music. All your favorite doo-wop hits are included: “Who Put The Bomp?” “Runaround Sue,” “Unchained Melody,” “Duke of Earl” and, of course, “Life Could Be A Dream.”
Daniel Tatar plays Denny, the originator and head of the group, in whose house the action takes place. Jim Holdridge plays a convincing nerd as Eugene, who gets the biggest laughs of the show when his performance of “Tears On My Pillow” hits a little too close to home. Ryan Castellino plays Wally, the preacher’s kid doing moves I’m sure they never taught in the church choir. Jessica Keenan Wynn plays the group’s unofficial manager and official femme fatale. Among them, there really isn’t a weak voice in the cast. They harmonize beautifully together and even throw in a few smooth dance moves.
And then there’s Doug Carpenter, as grease-monkey-from-the-bad-side-of-town Skip. After hearing his very first note, Wally decides he’s something special. And we, the audience, agree. Trained in classic opera but pursuing his dream in musical theater, Carpenter clearly has the chops for both. You will not hear a better pure singing voice in any musical theater, period. Pick a superlative – it will probably fit. He is almost too big for the small stage. But if you miss his performance here, don’t worry; you will, in all likelihood, be able to catch him in the not to distant future starring in a big budget production at the Pantages or the Ahmanson. He is truly that good.
Tom Buderwitz’s set captured the style of the 60s, down to the appliances and linoleum tile floors. Roger Bean wrote and directed, Lee Martino choreographed and Michael Paternostro was the musical director.
In general, both shows were quite enjoyable but made thoroughly memorable by two individual standout performances.
Secretariat, Ruth, Higgins and Carpenter. Okay, maybe that’s a bit of a stretch. But that’s what they said about a bunch of mop-topped kids from Liverpool.
Shining City
is performed Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through December 19, 2009. The Fountain Theatre is located at 5060 Foutain Ave., 1 block east of Normandie Ave. in Hollywood
Ticket prices: Thurs/Fri $25 (Students: $18/Seniors $23), Sat/Sun $28
Reservations online at www.fountaintheatre.com or by phone at 323-663-1525.
Life Could Be A Dream is playing through December 27, 2009 on the main stage of the Hudson Theatre. Showtimes are Thursdays and Fridays at 8 p.m., Saturdays 3 p.m. and 8 p.m. and Sundays at 3 p.m. The Hudson Theatre is located at 6539 Santa Monica Blvd in Hollywood between Highland and Vine.
Ticket prices range between $40 and $45.
Reservations online at www.plays411.net or by phone at 323-960-4412.
