‘Sirens of Seduction’ Skewers Suburban Mores
It’s all much more innocent than its title, “Sirens of Seduction,” but not all that innocent. The “Sirens” are hostesses of home lingerie sales parties, in this case Judy Peterson, whose husband Rob has departed with a bimbette, leaving Judy to make her own life.
If at first glance this looks something like sitcom, glance again. A first play by Lee Murphy and Jan Bina, “Sirens” is a very funny, often wise glance at how some women in suburbia look at the man in their lives. Here that man is Judy’s Rob, for most of the friends invited to the party have had some sort of run-in with Rob, either before or during his marriage to Judy.
There are few one-liners to fuel the comedy. The humor comes out of character and the laughs come from the clockwork timing of director Danny Goldman. He has infused the production at the Victory Theatre with the honesty and realism necessary for ungimmicked comedy.
Goldman’s job was made easier by his adroit casting all the way down the line. Debbie Zipp is sheer delight as the gangly, confused, adorable Judy, who is convinced her Rob will return, until her friends begin dropping strong hints that she should change the locks.
Zipp’s reactions are as funny as her line readings. As Judy’s sister Yvonne, whose perfect marriage is revealed as no such thing, Nancy Linari begins with just the right hard edge, and a subtle hint beneath it that she isn’t quite as starchy as she seems.
Debbie McLeod’s bubbling Southern energy is on the nose for the friend who talked Judy into becoming a Siren hostess, and Ann Ryerson has a warm, comfortable glow as J.J., a lesbian who is solidly a member of the clique. Next to Zipp’s, Doris Hess’ single and double-takes, as full-figured friend Helen, get some of the evening’s biggest laughs.
Betsy Berenson’s wide-eyed gullibility as pregnant Patsy barely hides the truth that Patsy really runs her marriage to fireman Pete, just as Catherine Carlen’s flamboyant restaurateur Tina, with an eye for busboys, may just be the best adjusted member of the group.
The Peterson living room looks as Valley-oriented as it’s supposed to in D Martyn Bookwalter’s set and lighting design, and Rhonda Earick’s costumes reveal character and sometimes just a hint of skin.
“Sirens of Seduction,” Victory Theatre, 3326 W. Victory Blvd., Burbank. Thursdays-Saturdays, 8 p.m.; Sundays, 7 p.m. Indefinitely. $15-$17; (818) 841-5421. Running time: 2 hours, 25 minutes.
Berkoff’s ‘Lunch’ a Meaty One-Act
Like John Steppling and Athol Fugard, Steven Berkoff’s playwriting process includes the directing of his own work, shaping its style on stage as well as on page. In all these cases, it’s fascinating to see other directors tackle further productions.
Brian D. Scott’s guidance of the Powerhouse’s production of Berkoff’s “Lunch” shows not only the one-act’s durability, but his own firm grasp on the play’s structure, tempos and rhythms. This new-age “Brief Encounter” is a concerto for two voices, and Scott knows the score inside and out.
As the Man and Woman who meet at a lonely seaside restaurant table, enjoin, simmer, boil and explode, Lawrence Levy and Doreen Stelton are superb. The staging is pure Berkoff--crisp, alienated and brutally honest, as are the performances.
The second play of the evening does not fare as well. Alan Eisenstock’s “The History of Blacks and Jews in Television” pokes fun at the sometimes ludicrous and always distressing world of writing for television. Its flaw is that it is television writing, which is rarely successful poking fun at anything.
In spite of Eric Menyuk’s kinetic direction and good comic performances from Richard Hochberg’s put-upon Jewish scripter and Jack Kandel’s slimy producer, the play can’t help looking like a Comedy Central sketch puffed to the breaking point.
“Lunch” & “The History of Blacks and Jews in Television,” Powerhouse Theatre, 3116 2nd St., Santa Monica. Fridays-Saturdays, 8 p.m.; Sundays, 7 p.m. Ends Aug. 30. $12; (310) 393-9631. Running time: 2 hours, 20 minutes.
An Intricate Pair of Gibson Plays
Both of Melissa James Gibson’s one-acts, which make up this evening at Theatre/Theater’s Back Space, are intricate and theatrical. She knows her way around a good idea.
The more successful is “Borderline States,” a chance meeting in a bus station between a woman running from a jerk (Nancy Kerr) and a woman waiting for a jerk to return (Lesley Kyle). Gibson directs this one herself with energy and fire, and Kerr and Kyle’s top-notch performances put a fine glow on a tight, rich script.
“Wintershock” is an idea that fascinates--a disjointed conversation between husband (David Muir) and wife (Lisa Kaminir) that stalks the bitter truth about their grotesquely deformed child from opposite angles. Even excellent performances and Carter Cole’s perceptive direction, though, can’t keep the writing from appearing too clever for its own good. Gibson’s talent forgives an experiment that is just short of working.
“Borderline States” and “Wintershock,” Theatre/Theater, 1713 Cahuenga Blvd., Hollywood. Tuesdays-Wednesdays, 8 p.m. Ends Aug. 25. $10; (213) 469-9689. Running time: 1 hour.
It’s Hard to Find Good in ‘Man’
During the last 20 minutes of “A Good Man Is Hard to Find,” at the Wilshire-Ebell Theatre, producer-playwright-director Rev. David Payton’s “gospel musical” finally achieves some of the stature it should have.
Teen-ager Dennis (Lavelle Harris) has been mistakenly shot by a drug dealer out to collect money from older brother Buddy (Sam Turner). Pacing outside the hospital, Buddy meets and denies a dreadlocked Jesus with a Jamaican accent, but later turns to prayer for his brother’s life in a gospel-flavored finale, with mama, papa and grandma, which is as theatrical and tingly as the Sextet from “Lucia.”
But the three hours and 10 minutes that lead up to the finale are pure sitcom, filled with caricatures rather than real people (Harris and Turner excepted).
They cover too much ground, including battered wives, AIDS and adultery, besides being generally sexist and even homophobic.
“A Good Man Is Hard to Find,” Wilshire-Ebell Theatre, 4401 West 8th St. tonight, 8 p.m.; Saturday, 3 and 8 p.m.; Sunday, 3 and 7:30 p.m. Ends Aug. 16. $16.50-$21.50; (213) 480-3232. Running time: 3 hours, 30 minutes.
