Hothouse
|
Guess, Genece
Photo by Chris Covics
|
By Joseph N. Feinstein
Sometimes it's the actors who are at fault; such is not the case here for the ensemble of seven do a most creditable job with this production now appearing at the Unknown Theater in Hollywood. Fast becoming known, this ancient warehouse has been converted into a most appealing venue for shows. So it's not the theater's fault for Hothouse's problems; the leg room, acoustics, ventilation, and revolving stage make this a most pleasant place to view a play.
If it's not the actors or the venue, the problems of the show must be laid at the feet of its playwright, who, in this case, happens to be the renowned Harold Pinter, recipient of the 2005 Nobel Prize for Literature and author of The Caretaker, The Homecoming, Celebration, and The Birthday Party among others. He is widely thought to be one of the most influential dramatists of the 20th century.
This is Mr. Pinter's second play, written in 1958. It was panned by the critics and did not appear again until a generation later. The management of the Unknown Theater has decided to take this tale out of mothballs and give it a 21st century airing.
Hothouse is the story of six employees of a government "rest-home," which is really a mental hospital and psychological research facility. When the play opens, we are informed of the death of "6457" -- the numbering of the patients helps keep them anonymous and, therefore, invisible to the staff. Patient "6459" has just delivered a baby, and the search is on for who could be the father, for "such things don't happen here!"
The characters are Roote, the director of the hospital (Abner Genece); Lamb (Daniel Kempen), who naturally becomes sacrificial; Cutts (Kirsten Beyer), the babe who simply hangs around to charm one and all and acts like she could have an "N' instead of the first "T" in her name; Lush (Jason Guess), who is one, and Gibbs (Art Oden), who does everything "by the book" and to a "T"! David Permenter plays Tubb and Lobb, rounding out this extremely well-rehearsed cast of first rate actors.
There is sex, lots of drinking, murder and mayhem, screams galore, trick cigars, lights out, faster-than-greased-lightning monologues-- but what does it all mean? Why should we care? We've seen far better plays in which the patients are more sane, more in control, more in charge than their keepers. Somehow, this tale keeps us amused, gives us an occasional laugh, but, all in all, the playwright's tale of class struggles among the administration and staff and under-staff, and the incompetence of the boss and rampant drinking and sexuality is a cynical look at who might be madder, the patients or their keepers.
I did enjoy some of the expressions which were sooo English: the penis is called a wick; using a condom is referred to as "never riding bareback"; virginity is called "Virgo Intacto"; never asylum, always "Rest Home."
The technical aspects of the production are excellent: first - rate direction by Christopher Cappiello in keeping his actors and action on the revolving stage moving at just the right pace; superb design by Chris Covics giving us most believable sets, especially the one with the lie detector. The costumes by Zale Morris were excellent, dressing everyone
splendidly as with 1958 British authenticity. All in all, there's great acting, it's a great venue, and
the early efforts, though uneven, of a splendid playwright add up to a most worthwhile theater event. It is well worth seeing.
The Hothouse, at the Unknown Theater, 1110 N. Seward St., Los Angeles. 90038.
Tel. 323-466-7781. Plays Thursday - Saturday @ 8:00 p.m., Sunday @ 6:00 p.m.,
Until July 1. Free Jazz Concert following each evening's performance - your presence requested.
|
