PLAY REVIEWS

JUST 45 MINUTES FROM BROADWAY

By Henry Jaglom

Now playing at the Edgemar Center For The Arts, in Santa Monica

When the highlight of a stage production is the set and when the reaction of everyone around you is, “Well, the set, at least, is wonderful!” it’s pretty clear that something is amiss.

In the case of “Just 45 Minutes From Broadway”, Henry Jaglom’s new comedy, the problem is not with the actors, most of whom are up to the task of handling an over-written comedy that is too long by at least a half hour. Unfortunately, however, two of the characters are so annoying that it is difficult to see past the roles and appreciate the actors portraying them.

Tanna Frederick, in the purported lead (this really is an ensemble cast, folks), is talented, charming, and for the most part, very funny. Her character, Pandora, is a neurotic, over-the-top nut job, whose incessant crying and whining start to wear very thin about twenty minutes into the story. Panda, as she is called by her eccentric family, is the youngest daughter in a typical household of second-rate thespians. Oh, yes, we’ve seen these people before in far better plays: The goofy-but-endearing gypsyish mother (Karen Black) and the befuddled father (Jack Heller) living on past glories of the Yiddish theater. Panda still lives at home with her beloved parents, an uncle (David Proval, almost unrecognizable from his “Sopranos” days) who dotes on them, and a delightfully silly renter (Harriet Schock, a pick-me-up whenever she’s on stage), who seems to be harboring “feelings” for…someone in the group.

As the play opens, Panda is reeling from her latest breakup and dreading (with good reason) the arrival of her older sister, played with unrelenting bad humor by Julie Davis. Betsy is the only member of the family to have escaped into the real world and she detests the theatrical environment in which she was raised. Now in her late 30s, she arrives with her fiancé, Jimmy, to introduce him to everyone and what a mistake that turns out to be. David Garver as Jimmy is a true find: A tall, blandly good-looking man who provides one of the sexiest, most romantic seductions we’ve seen in years. He is the only one in the piece that seems to be a real, flesh-and-blood human being and is someone with whom you wouldn’t mind sharing a glass of wine or more.

We aren’t sure if Julie Davis’ portrayal of super-bitch Betsy was meant to be so one-note – meaning if it was written that way or if Ms. Davis was directed that way – but we suspect that there is a good actress lurking beneath. Too bad she isn’t allowed to show us just how good, because as played, Betsy is hateful, with virtually no redeeming qualities.

This is one of those productions in which there are a number of fine performances (Ms. Black should thank director Gary Imhoff for leading her through one of the most grounded, normal characters she has ever played – and she is marvelous throughout), but as a whole, the play is rather ordinary and forgettable. If someone could get Panda to stop crying and Betsy to stop bitching, thereby shortening the play by at least twenty minutes, there might just be something better to talk about on the ride home than…Joel Daavid’s truly wondrous  set.

- K. Malone

June 2010

TUXEDO MAN

By Zack Hoffman

“Tuxedo Man” is a one-man show written and performed by a Canadian-turned Angeleno-turned Seattleite named Zach Hoffman. He recently took this show about a used-up, has-been lounge singer on the road and our intrepid reporter, Pat Lach (a longtime, very savvy Hollywood actress, who recently relocated to Oregon), was fortunate enough to catch it in Portland. Pat reports:

“Tuxedo Man” was REALLY VERY GOOD!! AND…as I told the star afterwards…WHAT A SET OF PIPES!! Can that man sing!!! He had everyone in the audience shout out their favorite song, then sang a medley of so many “golden goodies” – club songs – that I couldn’t count them.

The material covered all the emotional bases and included audience participation. What a treat to get a one-person show at a level of competence and talent that is more than worth the ticket price!!

L.A. “one man shows” have much to learn from him! Oh, and the accents for each of his characters, along with the voice/pitch alterations…enviable!

Didn’t have a chance to ask, but HOPE he takes it to LA – lots of stuff for our “vintage” to appreciate about those that are “gone!” (one of the tag words on several references), places that are “gone”, and some (Cantor’s, Micelli’s) that are still there.

He wrote this piece and it took him 5-6 yrs. Well worth it! The guy is amazing and really needs to be seen/heard in bigger venues!

- Pat Lach

June 2010

For more information on future venues, call Zack at 206-353-4044 or go to www.zackhoffman.com

NOTE FROM Editor: Even though Portland is NOT “Hollywood”, the lesson to be learned from this is that sometimes, an actor just has to create his own opportunities. Think about it…

BENGAL TIGER AT THE BAGHDAD ZOO

By Rajiv Joseph

Mark Taper Forum
April 14 – May 30, 2010

When this play premiered in 2009 at the Kirk Douglas Theatre, in Culver City, I very deliberately avoided it, simply because of what the name implied. As an overly empathetic animal lover, I cannot tolerate the thought of any creature suffering and assumed that this play would, at the very least, touch on that. Animal lover or not, when my season tickets at the Taper call, I feel compelled to go. Thankfully, my original reservations about this marvelous piece were misplaced.

In a nutshell, yes, there is a tiger in the ruins of the Baghdad Zoo when the play opens – a tiger played to his grumpy hilt by the only semi-name actor in the piece, Kenneth Tighe. Tighe does not attempt to impersonate a 4-legged animal, however; this tiger is all smart-mouthed humor and dead-on (no pun intended) philosophical musings, relayed with a deep, growly, riveting voice.

Tigh-er is being guarded by a pair of rough-edged American marines – one a self-deluding thief, Tom (Glenn Davis), who feels entitled to the spoils of war and the other, Kev (a slightly over-the-top in Act I Brad Fleischer, who hits his stride in Act II), a stereotypical dumber-than-dirt newcomer to Iraq. A truly stupid encounter with the caged tiger relieves Tom of his right hand and when he returns from his rehab in the States with a state-of-the-art new hand, it causes a certain sexual problem for him: Masturbating left-handed just doesn’t suit him! He enlists the aid of the camp interpreter, Musa (the outstanding Arian Moayed), to explain to a young prostitute (Sheila Vand) exactly what it is he needs her to do for him. This entire exchange is done in Arabic and is hysterically funny.

The play is peppered throughout with extremely active ghosts, the most compelling of which is Uday Hussein, slithering around the stage with the severed head of his brother in a plastic bag. Hrach Titizian is a wonder to behold as Sadam’s most feared and hated son.

The uniformly excellent cast is rounded out by Necar Zadegan, playing both a very much alive Iraqi woman and a hauntingly deformed leper.

I haven’t read the notes in the program yet, but here’s my take on the allegory of the caged animals: As the tiger explains it, he was minding his own business in the Sumatran jungle, having just lunched on a pair of yummy children, when he was captured and transported to this Iraqi jail. Although fed and kept “safe”, he spent the next dozen or so years in the wrong place at the wrong time. When the bombing of Baghdad resulted in the escape of his fellow inmates – a group of lions – he chose to remain in his cage. He discovered that the newly freed lions were almost immediately shot and killed by their so-called liberators and/or “fellow” Iraqi citizens. So, which is better? To be trapped in a place you can never leave (Iraq under Sadam Hussein) or to be liberated, only to suffer years of countless humiliations and losses, thanks to your former enemies? It’s a terrible choice at best and one with which the people of Iraq must deal, as the world watches.

- K. Malone