L.A. WEEKLY:
...a teen horror-comedy about an online, multi-player,
zombie-invasion game that employs cutting-edge GPS and satellite
technology -- and not a little hocus-pocus -- to merge the
players' own neighborhood and families into the virtual gamescape
with frighteningly real-world consequences... Part gaming parody,
part suburban-dystopia satire, the production scores early with
director Jaime Robledo's deftly staged send-up of the video-game
environment, replete with eerie voiceover (Eric Vesbit),
comically crude projected game icons (by Kwasi Boyd), ominous
lighting (courtesy of designer Matt Richter) and set designer
James W. Thompson, Jr.'s clever triptych of SimCity-like,
dormered house facades. Haley then splits the subsequent play
between scenes of the clueless neighborhood parents (all played
with wonderful, quick-change panache by Eric Curtis Johnson and
Lynn Odell) and those of their disaffected, game-addicted kids
(Amy Talebizadeh and Adam Trent). It is in the parents'
bewildered reality where Haley is at her best, neatly skewering
the insular, over-controlled sterility of subdivision life and
the generational alienation that has driven their angry offspring
to the comforting camaraderie and ultra-violence of their virtual
world. -Bill Raden
Eric Curtis
Johnson & Lynn Odell
L.A. TIMES:
Suburbia turns in on itself in "Neighborhood III: Requisition of
Doom." Jennifer Haley's play about an online video game that
mirrors its teenage players' own community receives an
impressively determined West Coast premiere at Sacred Fools.
A hit at the 2008 Humana Festival of New Plays, "Neighborhood"
transpires in an archetypal subdivision of faceless domiciles
(sparely designed by James W. Thompson Jr.). Recent disturbing
occurrences have the Homeowner's Association-fearing adults
concerned without quite comprehending.
They need look no further than their detached progeny, all
addicted to the titular diversion. A mixture of scavenger hunt
and zombie attack, "Neighborhood II" uses satellite and GPS
technology (evoked by Kwasi Boyd's deliberately rudimentary
projections and Eric Vesbit's all-too-serene voiceover) to create
a virtual reality identical to the actual neighborhood. As both
realities converge, the dystopian satire of the opening scenes
enters the realms of outright thriller.
Director Jaime Robledo treats this material with equal parts
stylized austerity and emotional verisimilitude. Lighting
designer Matt Richter's illuminated cubes, dormer windows and
noir-ish washes work in tandem with Mark McClain Wilson's
omni-directional sound plot to create an ever-changing blank
page.
The strongest aspect of Haley's script is its sardonic take on
living in suburban Hell and the communication rift it creates
within families. Eric Curtis Johnson and Lynn Odell portray all
the parents, Amy Talebizadeh and Adam Trent all the kids, and
they switch personas and tones with disciplined finesse.
What's lacking is a consistent match-up between the Shirley
Jackson-flavored overview and the Wes Craven-tinged plot. The
visual restraint puts the exchanges up front, but it doesn't
exactly chill our blood, and the narrative's final swerves into
graphic novel territory are almost another property. Still,
"Neighborhood III" has cult favorite written all over it, at
least until the inevitable film version comes along. -David C.
Nichols
Amy Talezibadeh
& Eric Curtis Johnson
ARTSBEAT LA:
Although I was well-aware that the cast were doubling up on
roles, I have to admit I was genuinely surprised to see only four
actors taking their bows at the conclusion of this fast-paced and
accelerating thrill ride. The tight-knit cast of four – Eric
Curtis Johnson, Lynn Odell, Amy Talebizadeh and Adam Trent – are
well directed by Jaime Robledo.
A highlight is one of the Dad’s unnerving story about his sister,
noting “There’s nothing more scary than your own family.” Here
Eric Curtis Johnson garnered some applause for his performance in
that scene.
Sound designer Mark McClain Wilson and composer Michael Teoli
have created a spooky soundscape for Haley’s chilling one-act
play that draws the parallel between Ponzi sales schemes and
spurious religions with video games, where you are always
straining to make it to the next level. One exchanges between the
teenaged characters notes how the “sicker the game, the more they
like it.” The other’s response, “Sometimes you need a place to be
sick,” is the stuff of mass murder nightmares.
Don’t miss this stunning production.
Eric Curtis
Johnson & Adam Trent
THINKHERO:
Last week at the Sacred Fools Theatre, I had the opportunity to
check out Neighborhood 3: Requisition Of Doom which is an 85
minute play about the disconnect parents today feel over their
children’s obsession with video games, specifically in this case
an online zombie killing video game, and the blurring of reality
for the kids that play them.
This satirical and sometimes dark natured play, which was
cleverly written by Jennifer Haley, possesses some humorous and
powerful moments throughout. The acting from all four cast
members who play the various characters throughout the play is
strong, is both a testament to their talents and the strong
direction of Jaime Robledo who brings out passionate and varied
performances.
One of the things I really like about the theatre is the creative
ways that the story is told despite the lack of resources that a
movie or television show would demand. In this capacity,
Neighborhood 3 does a great job with its music/sound effects,
lighting, costume design, voice over and video projections which
lends to making the production feel much bigger than it actually
is.
One thing I think that could have worked better is a more
balanced tone within each scene, as each scene mostly falls into
either serious or comedic as opposed to balancing the individual
scenes with both. For example the 2nd to the last scene is quite
humorous in a very creative way but then the play is concluded by
a serious and dark final scene.
The overall theme of play is built throughout the story to reach
the inevitable conclusion and done very well, although it is a
bit on the heavy side. With the dark satirical nature of it, I
also hope that any parents don’t take away the wrong message of
the story and decide that video games should be banned from their
children’s lives. Rather that they see it more as their
responsibility to oversee and communicate with their children not
only in their obsessions with video games but with any other
addictive behavior they may have.
If you are fan of the theatre, video games or both and happen to
live in the Los Angeles area, I highly recommend checking out
this humorous and thought provoking play. The story moves at a
good pace without too much of a lull and arrives at satisfying
conclusion.
