 |
Laurie Okin and Susan Wilder
Photo by John Perrin Flynn
|
The Rogue Machine is a company of serious theatre
practitioners who must stay in shape by finding places to park in their
neighborhood and climbing cardiac stairs to their well appointed performance
space at the MET Theater. The
space has great history with famous names and beautiful productions attached
ever since Bill Bushnell (corrections are welcome) got the place going many
years ago. This is the heart of
what theatre for the next generation is supposed to look like. Funky and low
down. Ancient wood paneling and refreshments for a donation make for a
comfortable lobby to meet other patrons before the house opens.
Still Life will only be up for a short time longer. If Sunday’s excellent performance with
standby James Liebman (in for Lea Coco) as the artistically conflicted
statistician, Jeffrey, is any indication of the dedication of this group, it’s
a must see. Director Michael
Peretzian has molded Academy Award Winner for “Birdman” Alexander Dinelaris’s modern
morality play flowingly into a story for our time. Dinelaris asks deep and personal questions that each
of us must address but seldom do.
Looking in the dictionary, one might see the term ‘jerk’ (for
want of a broader term that has to do with pejorative body parts) and find a
portrait of “Terry” depicted by Jonathan Bray, the owner of the ad agency where
Jeffrey works to futurecast the wants and needs of the general public. In a strong turn, we see both truth and
beauty in this character’s approach to living the wasted life. His brutish and blatant approach to
getting things done, fraught with fear and loathing of himself and others is
enough to put us all on notice to pay attention. Pay attention to how the
ripples we send into the Universe may leave others in chaos.
Central to the story is a love affair between Jeffrey and
one of the most natural actors I’ve seen on any stage: Laurie Okin as the
inspired photographer, Carrie Ann.
Daughter of a well known photographer, Theo (Frank Collision), she has
risen to prominence for her dramatic photos, some of which depict the startling
beauty of dead things. This sets
the scene for the examination of what is important to the story's characters we
meet and what the true value of being alive is to each of them: to each of us.
Susan Wilder as Joanne brings to life a gorgeous no nonsense
agent for the down to earth Carrie Ann.
Her life turns on how well she represents herself and her client.
Exchanges between the two are tough and heart rending.
Every scene depicts some special conflict that we must, as
individuals, also work out within ourselves to move forward with life… and
death.
In multiple turns, Jennifer Sorenson shines as Michaeline, the
dive bar bartender, who is
challenged to examine her own personal worth by Terry's indecent proposal. She is forced to examine herself by Terry as he snorts himself into oblivion, too late becoming aware
of his own distinct shortcomings.
Tania Verafield, Nardeep Kuhrmi and Alexandra Hellquist
round out the cast perfectly. Tom Buderwitz’s excellent
scenic design is spare and modern; beautifully set off by Leigh Allen’s subtle
lighting with what are presumably more photos by Carrie Ann projected during
scene changes, depicting in an astounding way, the circle of life.
STILL LIFE by
Alexander Dinelaris
A West Coast Premiere
Rogue Machine Theatre
In residence at The Met Theatre
1089 N. Oxford Avenue
Los Angeles, California 90029
Through April 17, 2017
Saturdays and Mondays at 8:30PM
Sundays at 3:00PM
No comments:
Post a Comment