![]() Her bestįriend since childhood and current neighbor Molly (Rebecca Henderson)įinds the situation appalling, even as her 2-week-old marriage to a Surface seems to be more of an issue to everyone but her. Play the lead in the film he wrote for Abigail, which at least on the Industry-wannabe Angeleno couple, Calder hoping to get a major star to Smith creates the quintessential scenario of the modern His rustic living room sounds just about perfect to him. Whose life without strings and a surfboard leaning against the wall of Is anything but a cheerleader shouting the joys of fatherhood to Calder, Reed has a 2-year-old daughter with another on the way and Missouri to speak at a conference, was a college roommate of Calder’s,Īnd the two old friends’ lives have exploded into very differentĭirections. ![]() Their houseguest Reed (Keith Powell), a scientist visiting from Major feature film and for Abigail to get pregnant, since both areĭesperate to add a little stability to their ephemeral and, of course, Have become a fixation: to see Calder’s newest project turned into a Hills of Silverlake where the two most important things in their lives Screenwriter Calder and his insecure actor-wife Abigail (Nate CorddryĪnd Jennifer Mudge) share a lovely plant-filled home in the wooded Pumpkin spice latte wafting through the night air around the Geffen #Escape from laville guide tvThis evening of theater may remind us to spare a thought for the millions who haven’t been.Īnd up-and-coming TV writer Alena Smith has written something so trendyĪnd so indigenous to Los Angeles you can almost smell the scent of Still Dee is resilient, in her mind and presumably in body. At best, the images offer close-ups on Dee’s body and the many stab-wound scars she bears (makeup by Angela Harner). But the camera and cameraman are weak characters here, lurking more to accomplish technical feats than for being invasive or menacing. The piece also likely wants to comment on the presence of media and lack of privacy, forced on us and encouraged by us. The present Dee wears white men’s briefs and a sports bra, her hair styled androgynously. In her “interview” scenes, Dee is feminine-at least outwardly evidencing traditional femininity, in makeup and groomed curls. Why do women marry men knowing they’re abusive? And then stay with them for 20 years? Apparently she took them from Charlie before she married him. Sure, the show frames Holum’s many talents nicely, but they’re peeling our thoughts away from Dee.Īt one point during a fight, Dee drops both hands, taking punches to the face. ![]() In addition to the camerawork (video design by Katherine Freer and Dave Tennent) and the shifting lighting design (Stephen Arnold) intended to assist in understanding this story told in scattershot chronology, Stein layers in songs among the monologues. And that’s unfortunate, because the straightforward telling of this story might have packed a powerful, memorable punch. But the two theatermakers pile on so much theatricality that we’re distracted. We in the audience know we should feel her pain and perhaps cathartically feel our own. The ideas Stein and Holum work with are certainly no lightweights. Sometimes Dee is shown live, sometimes she’s being recorded while we simultaneously see her in the past, during an interview or midway through a bout. Her image is in her viewfinder and on a computer screen, as well as on the four-sided mini-jumbotron hanging over the stage. On the stage, which is configured as a boxing ring and doubling as rundown living quarters, while she videos herself, a cameraman dogs her and records her (Stivo Arnoczy). ![]() She also recalls, perhaps even less lucidly, the girl she loved in high school, as she makes a videotape for her while revealing these intimate thoughts to the audience. The judge before whom he appears on criminal charges agrees. Charlie feels he gave her opportunities, made her a champion, and thus pretty much owns her. Unlucky in love, or foolish, or both, she recalls her marriage to Charlie, who strongly resembles real-life boxing promoter Don King. That’s how she sees herself, in this dreamscape, this memory play. Punch drunk, inebriated from alcohol or pills, addled from a lifetime of blows to her head, she relives shards of her life and tries to plan her future. Written and co-directed by Deborah Stein, performed and co-directed by Suli Holum, and in production at Kirk Douglas Theatre in Culver City, this elegy centers on Dee, a former champion fighter. ![]() Instead, focus lands on the techniques the storytelling uses and not on the heart of The Wholehearted. Center Theatre Group at Kirk Douglas TheatreĬonsidering the gravity of the themes raised by this production-abuse, violence, homophobia, lifelong heartache-the audience should feel deeply immersed in the world of this woman boxer, feeling every literal and metaphoric punch that touched her. ![]()
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