Review: Soul One (Clock Productions)

  
  

A meaningless trip through time

  
  

The cast from 'Soul One', being produced by Clock Productions at Natiional Pastime Theater

 
Clock Productions presents
  
Soul One
   
Written by Travis Hughes
Directed by Jessie Stratton
at National Pastime Theater, 4139 N. Broadway (map)
through April 30  |  tickets: $15  |  more info

Reviewed by Jason Rost

There are some new plays that can benefit from readings, workshops and multiple productions. Even if they don’t quite work at first, they can continue to grow upon their strengths while fixing their weaknesses. And then, there are scripts that possibly need to be completely rebooted or scrapped all together. Travis HughesSoul One may unfortunately fall into the latter. Jessie Stratton’s direction of this new play with Clock Productions does it no favors. While there are some sparks of talent in this cast and the design, in the end, Hughes’ script provides a hollow jumbled journey that falls somewhere between bad sketch comedy and a 3am History Channel reenactment from the 90’s.

Travis Hughes’ muddled script is centered on a troubled rock star, Jack Straw (Ryan Hughes). Straw is tormented by his producer pressuring him to create a more “pop sound.” His solution is to fly off to the Caribbean where he hires three prostitutes, who just so happen to be able to sing and play instruments on command. The women in Hughes’ play are almost always of the submissive objectified type. From here, things get strange—but not in a fun way. Straw seemingly seeks help from a crackpot therapist (Chad Ramsey). Ramsey’s character, using “Hypnotherapy for Dummies,” puts Straw under hypnosis. This takes Straw back in time to the caveman era. After this, he travels to pseudo versions of Ancient Greece, Rome, the American West and the future. Each one of these scenarios is more nonsensical and underdeveloped than the previous. It appears Hughes’ purpose for this convention is to teach Straw the lesson that he should love his wife, but there is nothing of substance written for these characters to care whether he does or not.

The play opens as though this may be another character study on a troubled artist. We even get a heavily produced mock Behind the Music video. However, this play goes from overplayed to pointless. Hughes opts rather for one cringe worthy joke after another. The sophomoric humor falls flat and advances no story. Stratton’s direction halts the pacing to near unbearably slow. At points, literally nothing happens on stage for a good amount of time. There’s another moment where we simply sit and watch Ramsey blow bubbles in silence for almost a full minute. More salvageable, there are a handful of interchanges between characters that could almost hold their own in a more sketch comedy setting. The main issue with these moments in the play is that nothing is seemingly ever at stake. Ryan Hughes is not believable and is an extremely bland rock star with none of the eccentricities. Straw is written to be the world’s greatest rock frontman, yet, he doesn’t seem to ever sing, only speak lyrics in a rhythmic monotone. Ryan Hughes is doubled by his brother, Travis Hughes, as the “time travelling version” of the character. Hughes comes off much better as an actor in these segments than he does as the writer of frequently flat dialogue.

There is very little rock music played live for a play that is largely billed as a story about a rock star. However, Nikos Brisco demonstrates some skillful guitar playing that could have benefited from more stage time. Also, the female actors clearly have some wonderful talent that isn’t getting tapped in this production, particularly a charming Gemma Crowley. However, the women are consistently utilized as the butt of dull and somewhat misogynistic jokes and are never given an ounce of dimension. Stratton’s video design is polished, but the video-centric director relies too heavily on the projections. Also notable, costume designer Sienna Macedon pulls off her job admirably, providing the only clear indication of what time period we are in.

In addition to script flaws, the overall production lacks clarity and appears under-rehearsed with no polish to timing and pace. Ultimately, the play suffers from an identity crisis on all ends in regards to what type of play this is. There exists a lack of focus on any particular action or storyline. Ramsey, as the psychiatrist, states at the end of the two hours, “Time is meaningless.” Apparently, the same goes for the audience’s time spent.

  
  
Rating: ★½
  
  

Graphic-Soul-One2

Soul One continues at National Pastime Theater through April 30th, with performances Fridays and Saturdays at 7:30, and Sundays at 3pm.  No Performances on Easter Weekend. Tickets are $15 and may be purchased online or by calling 773.327.7077.  More info at clockproductions.com.

Continue reading

REVIEW: The Emperor’s New Clothes (National Pastime)

Naked, Not Ready

masthead10

   
National Pastime Theater presents
  
The Emperor’s New Clothes
   
Written by Keely Haddad-Null
Directed by Carolyne Anderson
at
National Pastime Theater, 4139 N. Broadway (map)
through July 31st  | 
tickets: $20   |  more info

reviewed by Paige Listerud

National Pastime Theater opened its “Naked July Festival” with a clever re-imagining of Hans Christian Anderson’s The Emperor’s New Clothes by Keely Haddad-Null. In its dystopian future, Los Angeles has annexed surrounding states during the breakup of America. However, the City of Angels is about to go broke, with absolutely zip, zilch,  nada to pay its striking, angry city workers. Its Mayor, referred to more commonly as the Emperor (Don Claudin), orders his emperors new clothes 2public relations team to distract the public from his gross mismanagement. Said team breaks into the mansion of famous, reclusive film director Korminsky (Meg Elliot) to be advised of their next course of action to create the perfect media-based distraction. Korminsky tells them their only recourse is to rely upon The Tailor, who can construct designer clothing that only the enlightened can see.

Haddad-Null’s play lampoons, in a fun and sassy way, our truly American, Hollywood-fueled image obsession, as well as our culture’s corporate strategies for manufacturing consent. Unfortunately, upon opening, National Pastime’s production showed all the telltale signs of under-rehearsal. Sound design miscues permeated the evening. While such things can be cleaned up in the course of the run, the cast performances betrayed a distinct want of pace and comic timing, especially in the opening scene.

Director Carolyne Anderson simply must face the acoustic difficulties of the space. During the whole first scene, blocked on the raised back stage, the actors’ voices were dampened and flattened by the poor acoustics of the room. Korminsky’s quasi Howard-Hughes-on-Jesus look is quite inspired but the oversized beard also muffles Elliots’ delivery of this whacked-out character’s essential lines. Finally, the Emperor’s public relations team, made up of Maggie (Mary Roberts), Marco (David Bettino), and Maylan (Taylor Entwistle), needs to establish their comic cohesion, since they are meant to be the Three Musketeers of LA media manipulation. Poor choices in direction, which create only static interaction between them and Korminsky, deadened this scene’s comic potential.

 

emperors new clothes 1 emperors new clothes 3

Action in the thrust part of the stage faired far better, where the actors delivered with greater clarity and formed a more intimate connection with the audience. Haddad-Null’s script may need a little editing, but for the most part this production needs a better way of actualizing the script. Maggie, Marco, and Maylan seem to do better when they are on the move, entering scenes from different directions, yakking constantly on their cell phones than they do actually talking directly to themselves or other characters. Don Claudin’s performance as the Emperor/Mayor shines above the rest since he does self-important asshole right and his projection from the back of the stage, while other actors’ lines get lost, is a model of proper technique.

Elliot also pours on a magical presence as The Tailor once downstage. Unfortunately, even her powers aren’t enough to transcend that damn back stage. Her scenes with the Empress (Miona Harris) were, fortunately, downstage so that the audience could catch the tenderness and amusement of their growing connection.

Time to head back to the drawing board to rethink direction and sharpen up this show’s comic timing as well. No comedy or satire should be lost upon the stage.

   
   
Rating: ★½
   
   

emperors new clothes 4