LA
WEEKLY
*PICK OF THE WEEK
Paul Mullin's offbeat tale shows one man's descent
into wrenching sadness and self-examination. David P. Moore's production is a standout --
not just because of Mullin's edgy dialogue or Patrick Ryals' gutsy, multilayered
performance in the central role. It's also fueled by the play's unpredictability -- an
enchanting quality that sustains to the final scene.
Set inside what may or may not be an exclusive
psychiatric hospital, Audie (Ryals), a gruff, alcoholic junk-bond trader, awakens (or does
he?) to a diagnosis of Korsakoff's Syndrome -- a rare form of amnesia that, with sleep,
causes him to forget all that transpired during the day. Each morning, Audie's doctors and
therapists (if they really are such) present him with a script filled with scenes from his
life. (Where they got that info is anybody's guess.) Fantasy and reality collide in
Audie's living nightmare, leading to his day of judgment. Leaping back and forth between
Audie the patient and Audie the living train wreck, Ryals does not disappoint. Menawhile,
using a minimalist set of props and settings, director Moore artfully moves his players
who, with the exception of Ryals, play multiple roles. Adam Bitterman and Lauren
Hollingsworth are also particularly grand as, respectively, Moe Perlman, junk bondsman
extraordinaire and Audie's daughter, Emily.
- Jim Crogan
©1997 LA Weekly
DRAMA-LOGUE
The Sacred Fools Theater Company is well on its way to
becoming a major force on the L.A. theatre scene with its latest production, Paul Mullin's
poetic play Tuesday. The fact that the show is only the group's second offering is a
wonderful indication of things to come.
Audie McCall suffers from an extremely rare form of
amnesia called Korsakoff's Syndrome which causes him to forget everything he knows each
night when he goes to sleep. Of course, he doesn't know that, so to him every morning is
an exercise in confusion, frustration and discovery. The medical staff that is treating
Audie comes up with a unique approach to help him recover his memory -- they force him to
play-act scenes from his life using a makeshift script. But what Audie realizes on this
particular day of therapy is that sometime it's not worth visiting the past, no matter
what the benefit. Playwright Mullin definitely starts off on the right track, keeping the
audience in the dark almost as often as Audie himself. But the mysterious mood dissipates
as the therapy sessions begin, when the writer sacrifices some of the poetry of the piece
in order to provide more literal exposition. The re-enacted flashbacks are convincing and
compelling, but early on they seem a bit self-conscious and randomly inserted, and
consequently could still be tightened. Director David P. Moore has staged this "day
in the life" drama with sensitivity and flair, maintaining an intimacy between
characters and audience while utilizing every nook and cranny of the sprawling Heliotrope
venue. The uncredited hiospital setting instantly transforms into a number of diverse
locations, in part thanks to props from Tara Beth Connolly and Gerald McClanahan. The
lighting desitgn by John Sylvain is exciting at times, but doesn't always clearly define
the various playing areas. Sound design by Joel Zighelboim and Jeff C. Kunins is more
consistently crisp. Live music by Jonathan A. Dyke and Zighelboim is an invaluable aid in
creating ambience and filling some overly-long scene transitions. Lori Kay does an
imaginative job with costumes.
Even more compelling than the technical look of the
production is the excellent acting ensemble. Patrick Ryals is accessible and versatile as
Audie, effortlessly changing back and forth from his unassuming patient persona to his
more aggressive former self. The rest of the cast play multiple roles with style and
humor. Among their assignments, Danielle Surrette shines as Audie's former wife and a
helpful nun; Mark Auerbach has an imposing presence as Audie's doctor and a shadowy
gumshoe; Lauren Hollingsworth goes from precocious little girl to sensual young lady as
Audie's daughter; and Daria E. Mauldin portrays a determined street lady with plenty of
panache. Adam Bitterman is particularly impressive as Audie's little brother and his
former no-nonsense boss.
Tuesday bodes well for a new group trying valiantly to
attract audiences wtihin the Southland's crowded theatre scene. This playgoer, for one,
will, not miss Sacred Fools' future offerings.
- Elias Stimac
©1997 DramaLogue |
DIRECTION
- David P. Moore 
