Reviews for theater within the greater Los Angeles area.
Tag Archives: Emily Goss
March 18, 2017Posted by on
When one thinks of Eugene O’Neill, one thinks of wrenchingly serious plays, but “Ah, Wilderness” gives him a chance to explore the comparative innocence of a life he wished he could have lived. In the new production at A Noise Within, the play becomes a charming celebration of the nature of adolescence with characters recognizable over time and ethical distance in a way which makes the entire play approachable and embraceable.
In this warmhearted view of a middle class, small town family’s 4th of July in 1906, we follow 17-year-old idealist Richard Miller as he butts heads with his practical father, college-boy elder brother, overly nourishing mother, and the rest of his extended family. He yearns for the daughter of an overly straight-laced man, reads the Rubaiyat of Omar Khayyam, espouses socialism, and generally disrupts the calm of his family circle. In the ANW production, this comparatively lighthearted tale has been laced with popular music of the period – a move which instantly reinforces both the setting and the lighthearted nature of the thing.
Nicholas Hormann sets up the feel of the entire piece as Nat Miller, the easygoing patriarch of Richard’s family and publisher of the town newspaper. That very casual but upright “man of the world” quality sets the tone for the family and the entire play. Deborah Strang fusses and nurtures as Richard’s warm, worrying mother. Against these settled people’s maturity flails Matt Gall as the passionate Richard, whose journey into rebellion (and then back into the fold) becomes the focal point of the play. Gall gives Richard both the aura of conviction and the simplicity of lovesick youth in a combination which works well to tie all the pieces of this tale together.
Ian Littleworth, as Richard’s Yale-going elder brother, reflects the pompousness of the newly independent young man, while Katie Hume and Samuel Genghis Christian provide Richard’s younger siblings – the very observant, somewhat sardonic younger sister and the even younger littlest brother. Indeed, there is an aura of youth and innocence throughout this family circle, which balanced by the subtle struggles of the house’s other two occupants.
As Nat’s “old maid” sister, Lily, Kitty Swink finds a combination of determination and pathos, especially in Lily’s relationship with her former love interest, the flawed Sid, whose battle with addiction – though kept lighthearted in Alan Blumenfeld’s rendition – still provides a haunting connection to the darker side of small town life. Among a sizable cast, Emily Goss gives a youthful bravado to Richard’s clandestine love interest, while Emily Kosloski has a lovely time with the “fallen woman” Richard encounters while in defiant despair.
Director Steven Robman has given these folks a timbre and a pacing which keeps the story light on its feet. Scenic Designer Frederica Nascimento utilizes very mobile set pieces to create the swift changes needed to keep that pacing on target. Most of Garry D. Lennon’s costumes evoke era and class with an easy grace. It all works together to make a delightfully intelligent and largely uplifting whole.
“Ah, Wilderness” is not a rollicking comedy, but rather will evoke the laughter of recognition, and a chance to see a rare side of O’Neill: a balance to his more usual, far more grim works. For those who have never seen it, the ANW production will be a treat. For those who have, this production will confirm why it is worth seeing again. If only coming of age always involved this much charm. “Ah, Wilderness” plays in repertory with ANW productions of Shakespeare’s “King Lear” and the soon-to-open musical “Man of La Mancha”.
What: “Ah, Wilderness” When: through May 20, 7 p.m. March 19, April 9, and May 14; 7:30 p.m. April 20; 8 p.m. April 15 and 21, May 19 and 20; 2 p.m. matinees March 19, April 9 and 15, May 14 and 20 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: starting at $25 Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org
January 14, 2015Posted by on
Update: This show has been extended for four more Thursdays, through the end of February.
Perhaps the most copied and parodied form of suspense is Noir – the hard-bitten detective both investigating and swept up in the dark underbelly of society. If Noir is your thing, then a new ridiculous-disturbing spin on the genre has just landed at redwhite+bluezz, the restaurant attached to the Pasadena Playhouse. There, on Thursday nights, a slim dinner lets you into the underbelly of funny, as you become part of Adam Szymkowscz’s “Clown Bar” – a slimy, scatological speakeasy run by the clown subculture’s own mob.
Just how this will sit with an audience may depend entirely on just how spooky each individual finds clowns. Regardless, do not expect a circus atmosphere.
The plot has former clown Happy Mahoney return to his roots as he searches for the murderer of his hapless brother Timmy. In the process, he must face his own past and the consequences of his brother’s inability to live up to Happy’s successful level of funny. In his investigation, he rubs shoulders with the comically grim lounge singer, a stripper-clown, clown toughs and clown has-beens. It’s all noir, just with face paint, and tongue stuck firmly in cheek.
Shawn Parsons is Happy, managing a physicality somewhere between Sam Spade and clownish with significant sincerity. Joe Fria gives Timmy a wistful quality, and a gentle desperation, which fits the standard Noir ne’er do well character. Emily Goss provides the stripper with, or without a heart of gold, and Erin Holt becomes the sincere but hampered gangster’s moll. Surrounding these are bleak clowns and mobsters, some funny, some more grim, including Amir Levi, Chairman Barnes, the over-the-top Esteban Andres Cruz, Rafael Goldstein, the homicidal Mandi Moss, and Bruno Oliver. Richard Levinson provides the piano accompaniment to the original songs by Adam Overett which propel the proceedings.
Under the direction of Jaime Robledo, and in the tight performance space of a long, skinny restaurant, there are a few timing issues which still need addressing for the truly clownish to win – entrances must happen from too far away, and sometimes the rhythm of the thing seems forced. And it is just possible that the whole thing takes itself just a tad too seriously. Still, the concept is fascinating, and the sense of subculture – and the dangers inherent in stepping in and out of that culture’s single-focus, creates both the occasional humor and the pathos.
The price of this production comes with a meal which, though tasty, is small – itself almost a comical version of what nouvelle cuisine is like. Come early, as significant entertainment is to be found in the bar beforehand, where clowns hang out along with other patrons.
“Clown Bar” has a fascination, especially for those who find clowns creepy to begin with. For those for whom clowns are not innately disquieting, it sometimes struggles for a balance between its Noir concept and humor. In the process it is most, most definitely an adult entertainment. This is, after all, a seedy bar scene, not a big top. And it is a curiosity – one of those things one does not see everyday. As such, it may be worth a look.
What: “Clown Bar” When: Through January 29, Thursdays only, 8 p.m. dinner/show with 7:30 p.m. pre-show Where: redwhite+bluezz at the Pasadena Playhouse, 37 S. El Molino Ave in Pasadena How Much: $60, including prix fixe dinner with three entree options Info: (800) 838-3006 or http://www.BrownPaperTickets.com