Reviews
November 11, 2005 LA Weekly
ONE BOOTH JOINT: Episode XXVIII — The Finale
Forming opinions about a serial’s last episode without having seen the segments preceding it may be as unfair as judging a sporting event by its last moments. You know who wins but not who played bravely or what blood was spilled on the field. That said, it’s hard to imagine anyone but diehard fans getting much from this quirky show, whose final installment is derivative, poorly plotted and often (and perhaps intentionally) badly acted and directed (by Jeffrey VanderByl). Of course, it can’t be easy wrapping up four years of work in 70 minutes. But the five writers responsible for this episode don’t try terribly hard. Chet (Corey Shane Love, the series’ creator and producer), who possesses magical powers, is just out prison and back tending bar at the joint. In come troubled souls seeking relief, but Chet is a reluctant savior, who instead of helping them casts them into fugue states – until Billie (Christy Buchholz), his former paramour, arrives with a new baby, his. Giving the role of Tracy, a male barmaid, to three actors (Cameron Bass-Jackson, superego; Jason D. Avalos, ego; and Silvia Spross, id) is clever, but the gallery of barflies is largely uninteresting, save for George (John Frank) and Martha (Marie Bergenholtz), smarmy versions of Albee’s most famous couple. Black Box Theater, 12420 Santa Monica Blvd., W.L.A.; Fri.- Sat., 10 p.m.; thru Nov. 19. (310) 979-7078. Written 11/10/2005 (David Mermelstein)
THE ONE BOOTH JOINT: EPISODE 1
Quirky twists and surprises provide much of the interest and fun in this interactive series of vignettes about the regulars and first-timers of an after-hours dive. Most of the writing is quite good, which compensates for performances that aren’t always enthralling or convincing. The show’s creator and co-writer, Corey Shane Love, plays the barkeeper Chet, a salty character whose coarse exterior and mannerisms belie a compelling empathy. “Meg and Tara,” written by Yvette Thor, is about two women (Abby Schachner and Marie Bergenholtz), whose meeting at the bar evolves into a heated lesbian pas de deux. In “Steve and Ronda,” writer Matt Wrinch comes through with some of the funnier bits of writing as two business partners (Timothy Wayne and Teri Benjamin) toddle a few too many while discussing money matters and affairs of the heart. Another of the show’s toppers is the surreal “Overstreet,” written by co-director (and L.A. Weekly theater reviewer) Luis Reyes, in which Will Ahern plays an enigmatic barroom “philosopher” who enthralls the patrons with a dose of rhetorical hijinks and sophistry. Although Reyes and co-director Arthur Milliken let things get a bit over-the-top at some points, they know how to draw out the laughs. Black Box, 12420 Santa Monica Blvd., W.L.A.; Fri.-Sat., 10:30 p.m.; thru July 8. (310) 979-7078. (Lovell Estell III). LA Weekly review
April 12-18, 2002 LA Weekly
DEFINED BY FIVE Subtract two from this trio of one-acts by Corey Shane Love: Only one of the three has any real depth. Cow Complex, directed by Love, strives for absurdity but the mundane, elliptical dialogue of two lovers (Mina Tolchinsky and Hunter Bodine) is suggestive of an awkward beginning-scene study excercise. The cartoonlike performances of director Hannah Logan’s cast (Patrick J. McGurie, R.J. DeBard and Shauna Womack) in Puff & Sniff choke the pathos out of this fable about to shoked-up burglars in search of redemption. In contrast, Water Colors, directed by Weekly critic Luis Reyes, is a sublime reflection on the sacrifices made for love. In the aftermath of an apocalyptic epidemic, Bryce (Love) and Remi (Jessica Vallot), apparently strangers to each other, hole up in a desert motel where Bryce’s flashbacks reveal his ardent romance with now possibly deceased Sara (Marie Bergenholtz)-and a possible connection between the two women. Though Love is somewhat listless throughout, Vallot and Bergenholtz glow when delivering his florid prose. Coop Theater Company at the Black Box Theater, 12420 Santa Monica Blvd. (by Martin Hernandez)
April 19-25, 2002 LA Weekly
DEFINED BY FIVE Subtract two from this trio of one-acts by Corey Shane Love: Only one of the three has any real depth.Cow Complex, directed by Love, strives for absurdity but falls short. The cartoonlike performances of director Hannah Logan’s cast in Puff & Sniff choke the pathos out of this fable about to choked-out burglars. In contrast, Water Colors, directed by Weekly critic Luis Reyes, is a sublime reflection on the sacrifices made for love. Jessica Vallot and Marie Bergenholtz are superb. Coop Theater Company at the Black Box Theater, 12420 Santa Monica Blvd. (by Martin Hernandez)