THE PLAY ABOUT THE BABY

The Road Theatre Company opens their 2016-2017 season with an imaginatively directed, beautifully acted, gorgeously designed Los Angeles Premiere of Edward Albee’s The Play About The Baby, though whether Albee’s play will speak to you or not will depend on how you feel about abandoning the realistic for the allegorical.

14289969_10154453954931768_1678046256649956027_o Albee’s best known plays (Who’s Afraid Of Virginia Woolf? and A Delicate Balance among them) represented a shift from his early theater-of-the-absurd classics A Zoo Story and The Sandbox to more traditional storytelling.

The Play About The Baby, which world-premiered in London in 1998 before its 2001 Off-Broadway debut, returned a septuagenarian Albee to his absurdist roots.

Its nameless charaters—Man (Sam Anderson) and Woman (Taylor) and Boy (Philip Orazio) and Girl (Allison Blaize)—may resemble George and Martha and Nick and Honey, but the limbo they inhabit is worlds away from Who’s Afraid Of Virginia Woolf?’s authentic college-town setting.

14379599_10154453954851768_4273008243375852838_o Indeed, an opening scene in which Girl gives birth to Baby informs us from the get-go that we are entering Albee’s version of The Twilight Zone, though the young couple’s verbal foreplay could hardly have made it past 1950s TV censors.

14292473_10154451058146768_8320739962376981749_n Boy’s recollection of a violent encounter with pair of college bullies quickly hints that not all will be sweetness and light despite the promise of new life. Meanwhile, the mysterious Man and Woman deliver extended fourth-wall-breaking monologs that may appear lighthearted but suggest darkness to come.

14362712_10154453954856768_6524939910227558863_o As Act One progresses, the older pair’s trippy soliloquys alternate with their younger counterparts’ playful sex talk (including one scene in particular that shocked New York audiences in its explicitness). Note: There is brief partial nudity and some full nudity so brief, if you shut your eyes for a few seconds, you’ll miss it.

14324262_10154453954846768_1301755920701855880_o If The Play About The Baby’s first act proves more than a bit of a head-scracther, things get only slightly clearer in a second act that turns even more théâtre de l’absurde.

If it’s not already obvious, Albee’s The Play About The Baby is not A Play For Everyone.

Fortunately, a prodigiously talented Road Theatre Company creative team make it worth checking out even for those who don’t generally go for the avant garde.

Andre Barron’s direction is the very definition of inspired, and a stunning production design aids enormously in bringing his vision to vivid life.

14292280_10154472118443279_3974342087709027040_n Sarah B. Brown’s non-literal scenic design takes flight when magically lit by Lily Bartenstein, whose imaginative projections add to an appropriately otherworldly look. Sound designer Joseph “Sloe” Slawinski enhances mood every step of the way, particularly with original music that adds a quirky air of mystery throughout. Costume designer Michèle Young and properties designer Bettina Zacar do topnotch work as well, and there’s even some choreography by Melissa Kite along the way.

14322177_10210892853941782_1553489204140322040_n Still, if there’s any reason to see the Road Theatre Company’s latest, it’s the chance to see Anderson outdo even his Best-Of-The-Year work in this past spring’s John is a father. Anderson may not actually play God in The Play About The Baby (or then again maybe he does) but his performance is as divinely, magnetically watchable as star turns get.

14322377_10154486765828279_1364707789466661721_n Gilbert is fabulous as always, and having great fun being funny and sultry and enigmatic opposite her The Other Place/Madagascar costar.

Orazio makes for a captivating Boy, giving us equal parts innocence and testosterone, and an especially powerful Blaize moves from guileless to devastating as Girl gets taken to the dark side of life.

The Play About The Baby is produced by Anna Carini, Chet Grissom, and Emma Pauly. Jacob Smith is assistant director. Maurie Gonzalez is stage manager.

Given my druthers, I’d opt for all three hours of Who’s Afraid Of Virginia Woolf over The Play About The Baby’s shorter but less penetrable two. Still, with Barron, Anderson, Gilbert and company in charge, it’s worth taking a chance on Albee’s late-in-life return to where he started.

follow on twitter small

The Road Theatre, NoHo Senior Arts Colony, 10747 Magnolia Blvd., North Hollywood. Through November 5. Fridays and Saturdays at 8:00. Sundays at 2:00. Reservations: 818 761-8838
www.RoadTheatre.org

–Steven Stanley
September 16, 2106
Photos: Michèle Young

 

Tags: , , ,

Comments are closed.