by Geoff Hoff~
The program for the play The Quarry, now playing at Moth Theatre, begins with a short piece by the playwright about finding an old family photo album amongst the other debris thrown into the Milford Quarry. It seems a very intriguing inspiration for a play, delving into the question of why someone would discard their life like that.
The program then gives the description of the opening scene as written in the scrip, a scene that could not be staged in any theatre without major cinematic tricks; a beer can, thrown by one of two young men at the lip of the gaping scar that is the quarry, floats for a moment on the surface of the murky water filing the quarry, then sinks past all the old cars, the history of the town, forgotten at the bottom of the water-filled hole.
These are wonderful images and speak to the seriousness with which the cast, crew and writer/director approach the production. That seriousness, however, is this production’s downfall.
The actual play revolves around Pete (Zachary Shields), a lean, angry young man whose family life (if it could be called a family) has forced him to move to a shack at the edge of the quarry. His only friend, who comes from a more “normal” family, is Gary (Max Barsness), who is dating the preacher’s daughter, Jessica (Addison Timlin). When Pete loses a bet with Gary, he agrees to go talk with Jessica’s father, RD (Nicholas Guest). Even though he resists the conversation, it changes his life in many ways.
Upon entering the theatre, you are confronted by the edge of the quarry. It looks desolate and dreary. Behind it is the study of someone somber and educated. It speaks to a marvelous care taken to set the place. Raucous rock music plays, then the play starts. And stops. Right from the very first moment, every line is deliberated over, considered, pondered and mulled to such a degree that it is often difficult to sit still waiting for the next utterance. I suspect these actors are all quite good, but the ponderous pacing and self-important tone of most of the play don’t do them any favors. I know many actors, especially young actors, love the inner craft of acting, but they must realize that the inner life must be set in habit so the outer life can move. Yes, real people ponder. Some real people even deliberate before speaking most of what they say. But no real person ponders before every word that he speaks.
There were only two or three moments of real interaction that were quite startling because they were so rare. They also showed what the play might have been. One was an interaction late in the play between Mr. Shields and Ms. Timlin, and another, almost at the end, between Mr. Shields and Mr. Guest when Mr. Guest reaches out to comfort the younger man. To be fair to the actors, this may have been what the director required of them, which is quite possible as all four actors succumbed to it.
One other issue I have with the play is the ending. I won’t say what it is, but it didn’t make much sense to me. I usually don’t read the program until after I’ve watched the play so the piece can have it’s full effect on me without prejudice. Once I read the writer’s notes on why he wrote the play, I understood the ending, or at least the intent of the ending, but it still didn’t add up satisfactorily. I suspect the pacing of the piece had more to do with that then the writing, had there been any true moments of conflict and or spontaneity during the previous couple of hours, the motivation for the final moments might have had an emotional impact. Even still, I suspect it might not quite scan. I can’t delve more deeply into this without giving away too much, but the motivations for that final moment have not been properly led up to or explored, so it simply becomes puzzling.
The set was by Patrick Lewis and was very good. Lighting by Bosco Flanagan and sound by John Thompson were also good. Be forewarned, there are gunshots in the play, and much cigarette smoking.
The Quarry plays Fridays, Saturdays and Sundays at 8 through November 14, 2010.
The Moth Theatre is located at 4359 Melrose Avenue, Los Angeles, 20029, just west of Vermont. The entrance is in back, off of Heliotrope.
Tickets: $15
Reservations online at www.brownpapertickets.com/event/126184 or at www.moththeatre.com.
