Eve's Rapture
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Marshall
Courtesy/Property of Transversal Theater Company
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By Ben Miles
After seeing Bryan Reynolds's latest play, Eve's Rapture--now in its world premiere at The Hayworth Theatre, in Los Angeles--one might be drawn to the nearest dictionary in search of the meaning of "rapture." This Webster's frequenter did just that: Your critic looked it up in several lexical sources, both online and in hardcopy form. Surprisingly, the expression has at least two seemingly disparate denotations. One usage suggests the term's theological etymology, "The souls collected at once by God." Another entry, however, implies an act of criminal force--specifically, rape.
Under Robert Cohen's steady direction, Eve's Rapture is as polarizing and inflected as the second word of its title. Set in The Garden of Eden (circa, The Beginning of Time), the fable of humanity's first coupling is here staged as a love story (sweet); an action-adventure (harrowing); and, an extended existential epiphany (stimulating).
The cast of five, including Kendra Smith, fluid and mesmerizing as Eve and Ryan Patrick Welch, tender and visceral as Adam, carry the complexities of Rapture with commitment and élan. In fact, this troupe of actors makes the show its own. It's their netherworld; they are at its center--and, with unanimously high-caliber performances, they earn their keep. Chris Marshall as Satan, for example, makes for a devilishly entertaining Prince of Darkness.
But the action flows fast and fiercely in Rapture, so much so that the mind of the audience may trail significantly behind the in-your-face, but perplexingly fleeting, points-of-plot. Never mind that, though; there's always something to see, hear, and/or feel in Eve's Rapture even if it proves inscrutable in the moment. Carnal acts are mixed with episodes of song and dance (though the play is not a musical by any stretch, choreography is credited to Megan Glynn).
An ominous metal crucifix is placed upstage right, and a brassy, abstract apple tree is symmetrically set, stage left. Between them hangs a luminous full-moon, serving also as the all-seeing eye of God (scenic design crafted by Luke Cantarella). With sounds and music made ambient and sublime by Mike Hooker and Palmer F. Jankens and lighting that evokes the heavens by Lonnie Rafael Alcaraz, Eve's Rapture is a sensory experience. It's made sensual by the daring performers--including Martin Swoverland, effectively switching between booming Beelzebub and soothing Archangel Michael--and, in three roles, the impressive Helen Sage Howard, as Sin, Mary Magdalene, and Uriel.
This Transversal Theater Production of Eve's Rapture makes for a challenging and wickedly erotic two-hours. If you can embrace the notion of first-woman Eve personified as Laura Croft, Tomb Raider--and don't mind some sassy, sexy sacrilege--this show's for you. But it's not for children.
Eve's Rapture continues through June 27 at The Hayworth Theatre--2551 Wilshire Boulevard, Los Angeles, 90057. Performances are Fridays and Saturdays at 8 p.m.
Eve's Rapture Matinees are at 3 p.m. on Sundays. For reservations, call (323) 960 - 7779. For online ticketing, visit www.plays411.com/evesrapture.
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