Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: A. Jeffrey Schoenberg

Enough Yucks for the Buck?: “The Complete History of Comedy (abridged)” at the Falcon

In one of the shows high points, the cast of “The Complete History of Comedy (abridged)” celebrates commedia dell’arte

The comic playwriting team of Reed Martin and Austin Tichenor has created several funny send-ups of classics, known as the “Complete (abridged)” plays. The best known is the wildly funny “Complete Works of Shakespeare (abridged)” which even had them falling out of their chairs in London. Thus, a chance to see their more recent concoction, “The Complete History of Comedy (abridged)” here in the Los Angeles area seemed a no-brainer. Now at the Falcon Theatre, it has another hallmark, being the last show of the last season orchestrated by Falcon founder, the late Garry Marshall, himself no slouch in the comedy department.

Sadly, though there are a number of funny moments, this “Complete History…” does not quite hold up. Well performed by a trio of very talented, high-energy and versatile actors, it still suffers from two essential flaws: a convoluted and unfunny construct which becomes the show’s driving force and supposed aim, and too little material which is funny enough (or not too dated) to power a full two acts of performance.

First, the construct: supposedly a famous Chinese manuscript written by the brother of “The Art of War” writer Sun Tsu, called “The Art of Comedy” (by Ah Tsu… get it?) has been uncovered in a trunk, though it is missing its final chapter. The discovery was made thanks to guidance from a mysterious man in a bowler hat and clown nose. Presenting this fictitious book, and trying to figure out its final chapter, becomes the focus of the show, leading to the uncovering of the identity of the bowler hatted mystery force which brought the book to light.

The best of what follows is a true homage to the history of comedy: the introduction (to many) of the characters in commedia dell’arte, including use of an actual slap-stick, definitions of various “takes”, burlesque silliness, visual comedy of various kinds, and the recurring gag of potential attack with cream pies. There are also slide shows illustrating what is, and what isn’t funny. For the most part, these work too, though some seem a bit forced. There are send-ups of medieval Catholicism, modern politics, and even an homage to Chekhov, whose wry comic takes on the self-absorption of the Russian aristocracy were produced as if they were tragedies.

But there is a lot of dated material. For example, a big musical number about the Supreme Court makes fun of a very alive Antonin Scalia, though he has been dead for over a year. There are other references to personalities only the older members of the audience will remember with that detail, particularly Joseph McCarthy (or Edgar Bergen and Charlie McCarthy, for that matter) and Richard Nixon. Indeed, between this and the need to resolve the “who is the man in the bowler hat” scenario, the second act begins to drag and a lot of it simply becomes unfunny.

One cannot fault the performers, however. Zehra Fazal, Marc Ginsburg, and Mark Jacobson prove quick-change artists and creative cross-dressers, interact with the audience and each other, handle physical comedy with great polish, and get just as much as can be gotten out of the material they are handed. Director Jerry Kernion keeps the timing as good as it can be, making the sometimes positively frenetic pace of the thing seem natural. One wonders whether he was allowed – by the playwrights’ people – to insert more updates than a few slides of current political figures into the mix, because given the general artistry of his and his performers, one would think he would have done more to make the thing current if he could have.

Stephen Gifford’s set is just about perfect, setting a specific tone from the very start and facilitating all those costume changes. Those costumes, by A. Jeffrey Schoenberg, and Warren Casey’s many and varied comic props, do as much as absolutely possible to make this show as funny as it is. This is a grand effort by a lot of people. It’s just that, by the second half, much of it is simply not funny.

So, sadly, although “The Complete History of Comedy (abridged)” has some admittedly very laugh-out-loud moments, the lack of consistency and the oddly unsatisfying premise mean that this show does not live up to its potential. Is it terrible? No. Is it poorly done? Also no. It’s just not anywhere near as good as it should have been, but that’s as much the fault of its authors as anything else.

What: “The Complete History of Comedy (abridged)” When: through April 23, 8 p.m. Wednesdays through Saturdays, 4 p.m. Sundays Where: The Falcon Theatre, 4252 Riverside, in Burbank How Much: $30 – $45 Info: (818) 955-8101 or falcontheatre.com

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Fabulous “Spelling Bee” finishing run in Sierra Madre

The "kids" celebrate competing in "The 25th Annual Putnam County Spelling Bee" at Sierra Madre Playhouse

The “kids” celebrate competing in “The 25th Annual Putnam County Spelling Bee” at Sierra Madre Playhouse

I’m always fascinated by how shows on local stages go in waves. All of a sudden, within maybe a two-year span, the same play or musical will sprout in several different productions. The down-side is that often this can mean the piece – originally fun to see – gets beaten to death by sheer repetition. To some extent, this has been true of the small, clever musical “The 25th Annual Putnam County Spelling Bee”.

But wait.

It is that very fact which made the production of “Spelling Bee” running at Sierra Madre Playhouse all the more surprising. Even after seeing so many other renditions, this one proved especially captivating: totally on target in both character and energy (not to mention talent) from beginning to end.

The tale developed from an improv, and has that kind of quirky charm. Victors of local contests gather for the county bee which will vault the winner into the national finals. The pressure is intense, and the combination of nerdiness, neediness, and adolescent angst means all the contestants have scenarios running through their heads throughout the day. The hostess, herself a former winner, relives her glory days as a bonafide victor, while the edgy middle school vice-principal reads the competition words and a street tough doing community service provides “comfort” (meaning a juice box and a hug) to those who fail.

The ensemble cast works together seamlessly, as the story progresses with side-notes of internal fantasy throughout the competition. In the process, each “child” character has a specific and well-defined if often quirky charm. Joey Acuna, Jr. creates a delightfully hormonal Chip – the previous year’s champion wrestling with both a need to repeat and an intensifying interest in girls. Robert Michael Parkinson as Leaf, a deeply innocent child of hippie parents who gradually realizes he’s smart, often captures the heart.

Joy Regullano’s Marcy embodies all the internalized pressures of having to be perfect, while Hannah Leventhal’s intense Logainne wrestles with her own excitement, her two dads’ expectations, and a certain underlying moral force. Yet among the competitors the standouts – both in characters as designed, and as played – have to be Stanton Kane Morales’ weirdly earnest Barfee, and Cristina Gerla’s profoundly fragile Olive, who more than in any other version of this I’ve seen, find a genuine connection born of their own isolation.

Richard Van Slyke gives a nicely anxious vibe to the vice-principal. Gina D’Acciaro embodies all the odd twists of a middle-aged woman looking back to her childhood victory as the best moment in her life. Jaq Galliano does more with Mitch, the street tough, than the norm, as he wrestles with a genuine sympathy for these kids who haven’t seen real pain yet as well as his character’s completely inadequate role in providing them comfort.

Director/choreographer Robert Marra has melded all these find individuals into a well-paced, active and engaging whole. His choreography uses the small SMP stage to its full extent, especially in Marcy’s defining song. The audience volunteers who are always a part of “Spelling Bee” are also incorporated far more naturally into the show than usual, yet another sign of the solid sense of ensemble established onstage. A. Jeffrey Schoenberg creates just the right costumes, Jeff Cason does wonders with the lighting (as the set itself he has designed is the usual “Spelling Bee” minimalism), and Joe Lawrence’s musical direction keeps the show tuneful and fluid.

In short, this is – bar none – the best version of “The 25th Annual Putnam County Spelling Bee” I have seen. It is charming, heart-felt, active and engaging. One must warn that it does have a few references to adult themes (particularly in the case of Chip’s rising adolescence), but offers a lot of laughter, much of it laughter of recognition. It also only has one weekend left, so hurry out and see this treat of a show. You will be glad you did.

What: “The 25th Annual Putnam County Spelling Bee” When: Through August 21, 8 p.m. Friday and Saturday, 2:30 p.m. Sunday Where: Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. in Sierra Madre How Much: $35 general, $32 seniors, $25 youth, $20 children 12 and under Info: (626) 355-4318 or http://www.sierramadreplayhouse.org

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