shows in short

This month Kevin and I took in both Rock of Ages and A.C.T.'s The Homecoming. We scored free tickets to opening night of Rock of Ages, and had some seriously sweet seating. The show was sweet too, in its saccharine sort of way, but the crowd was just not getting into it as the performers had hoped. The show is too patchwork and forceful and too self-referential. Comedy is always more funny when played straight, but the over-animation, talking to the audience, and the "Hey look! We're in a show!" lines reeked of desperation (always a crowd cringer), and the over-acting passed ham and went into camp.

That being said, it was thoroughly enjoyable, made for a fun night, and was worth every penny we paid. Constantine Maroulis from American Idol fame (I'm told) is rather perfect for this part, and Rebecca Faulkenberry, the female lead of the touring company is spot on, gorgeous, and has a set of pipes. And legs. And sort of reminds me of a young Elizabeth Shue. The supporting cast is also talented and under-utilized (although I with the narrator would tone it down, and stop speaking every scene's exposition, but that's the writers' fault), and the set was remarkably dynamic for a single, installed, one-room piece.

Just next door, A.C.T. is putting on The Homecoming. Unfortunately, this is one of ACT's Creative Directors loathsome, burdensome, puts-the-fartsy-in-artsy productions. Dear God, I wish they'd learn. This past season or two have actually been wonderful, and featured engaging and entertaining productions that might begin to reverse the downward spiral of A.C.T.'s subscriber numbers. But Lo, another inaccessible miasma from a "great modern playwright." Some theater critics have debated the wisdom of Carey Perloff's creation of a core company at A.C.T., and I have mixed opinions about it. Tony Fusco and Rene Augesen are ridiculously talented and ever so versatile a quiver might need no other arrows. Jack Willis, however, is Big Daddy in every single thing we see him in.

This show, The Homecoming will only be liked, not necessarily enjoyed mind you, by hard core theatre-with-an-RE junkies and students of the stage. Those seeking a night of performance entertainment should not go. Regardless of the deep tone and pacing, it is just one superlatively fucked up play. Which for me is saying something. I also say this in the face of wild critical acclaim in the press. Critically, yes it is interesting, and very well-performed. But comments among audience members were universally "WTF?" This was certainly a theatrical achievement, but not generally entertaining.

Of course, it was an Out with ACT night so we made it through the show with pre- and during- cocktails. Admittedly, on empty stomachs that made for a fairly messy reception. And for that I apologize to those who know I need to do so.

I do very much look forward to ACT's next production however, as it promises to rise to Brief Encounter levels (if such a high mark is again achievable). Opening April 7 is their modern take, visually and textually, of Jean-Paul Sartre's Huis Clos, or No Exit.

While I have rambled on here about both shows, Kevin (as usual) summed them both up rather more succinctly.

The Homecoming:  Perverse.

Rock of Ages: It's Mamma Mia made for guys.