Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Not New News: “Above the Fold” at Pasadena Playhouse

Taraji P. Henson and Arye Gross in "Above the Fold" at the Pasadena Playhouse [photo: Jim Cox]

Taraji P. Henson and Arye Gross in “Above the Fold” at the Pasadena Playhouse [photo: Jim Cox]

The fact that playwright Bernard Weinraub spent most of his life working at prestigious newspapers obviously informs his work in the theater. Indeed, although nominated for awards in its off-Broadway run, his first play, “Accomplices,” met with mixed emotions among critics. Ostensibly detailing the U.S. government’s thwarting of attempts to rescue Jews from Europe as World War II began, it was hailed by some, but was labeled by other critics as more of a lecture or an expose´ than a play. Now his second work, “Above the Fold” hits closer to his personal and long-time professional home. Yet, there is the same sense of mixed emotions.

Now at the Pasadena Playhouse, “Above the Fold” examines the modern ethics of journalism in a time of shrinking print venues. It speaks to the value of a good story, over a right or balanced one. Such discussions have happened before, in books, in films as far back as the 50s (an example would be “Ace in the Hole”), and in examinations of modern media. The message of journalism and journalists as tools of the powerful is a recurring theme in modern times as well, as anyone knows who ever watched “The West Wing,” much less anyone paying attention to politics these days.

That which may be new in this play is more a matter of style and acting skill than some shocking revelation, or some great message of doom or hope we have not yet heard.

The story appears loosely based on the case of those Duke University LaCrosse players in 2006 wrongly accused of attacking a local African-American girl. It centers on Jane, a young New York Times writer sent to cover the story of three white fraternity brothers accused of raping the stripper engaged to perform at a frat party. Jane, anxious to get the more choice overseas assignments, plows into the middle of the tale when she arrives to cover the candidacy of a young southern district attorney. He hands her exclusive information about this potentially explosive rape story, and she is quick to run with it.

Jane ends up with a series of front page articles which feed the stereotype: rich white boys filled with entitlement, young and struggling African-American single mother abused by them, righteous district attorney determined to defend the local community against the university outsiders, etc. That she is African-American herself may make her even more ready to believe it all. Certainly, she gains a great deal from the notoriety of the story, as it grows. But the closer she looks at the situation, the more she begins to wonder about that story itself. Soon, she is faced with tough personal and professional choices.

The characters, except perhaps Jane herself, prove comparatively predictable. Still, they are played with fervor and care. Mark Hildreth’s earnest district attorney, soft-spoken, charming, and apparently without guile, gives plausibility to the reporter’s eagerness. Kristopher Higgins, Joe Massingill, and particularly Seamus Mulcahy make the three young men both suspicious frat boys and sympathetic human beings at turns. Kristy Johnson does what she can to develop the boys’ victim, with her erratic attention shifts and aura of addiction, beyond the elements of either two-dimensionality or stereotype. Arye Gross hits all the right notes as he plays the classic newspaper editor, nurturing to young talent while responsible to the publisher upstairs.

Taraji P. Henson and Kristy Johnson [photo: Jim Cox]

Taraji P. Henson and Kristy Johnson [photo: Jim Cox]

Still, what makes this play worth watching, predictability, and stereotypical situations and characters notwithstanding, is Taraji P. Henson as Jane. Her ethical wrestlings prove very real, as does her outrage as the story she is telling slips out of her grasp and becomes larger than she can possibly control. Watching the character’s move from what she at least sees as detached professionalism to passionate care, to angry disillusion keeps the audience’s focus and brings a certain gravitas to what might otherwise be a Movie of the Week.

“Above the Fold” may not be a great play, but it has performances worth watching. Director Steven Robman keeps the intensity at a heightened level, and – in concert with Jeffery P. Eisenmann’s fascinating set pieces – intensely immediate. Costumer Dana Rebecca Woods provides instant definition for each character. It’s all done in grand style. Just don’t go expecting to learn something you did not know, and you’re fine.

What: “Above the Fold” When: Through February 23, 8 p.m. Tuesdays through Fridays, 4 p.m. and 8 p.m. Saturdays, 2 p.m. and 7 p.m. Sundays Where: Pasadena Playhouse, 39 S. El Molino Ave in Pasadena How Much: $38 – $72 Info: (626) 356-7529 or http://www.PasadenaPlayhouse.org

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