2 posts tagged “the theat-ahh”

When I first saw the postcard for "Pest Control," I made a note to put it on my desk at home instead of on my fridge, where most of the play notices that I pick up go to die.  The premise sounded interesting enough, and I really liked the theater space over at NoHo Arts.  I’ve only seen one play there – Ed Begley Jr.’s "Cesar & Ruben" – and it’s just the type of theater space that I associate with good work.  Cozy, but not cramped.  Small, but not easily dismissed.

So what’s the play about?  Well, I keep comparing it to Little Shop of Horrors, even though it’s nothing like that play.  So why compare?  Because both have the same fun and energy mixed with a healthy dose of comedy and catchy showtunes.  I could easily see this little gem being made into a movie.  The story’s based on a book by Bill Fitzhugh, and the only cast member I know by name is Cleavant Derricks.  I’ve seen Derricks on and off my TV screen for the last 10 or 15 years, but his biggest claim to fame would his Tony-award winning performance in the Broadway production of "Dreamgirls" back in 1980. 

Of course, I mentioned in my last post that my current obsession worked with Derricks on this wee sci-fi show in the 1990s called Sliders.  I’m in the middle of Sliders Season 2 via Netflix, after watching all of Season 1 on Hulu.com.  That show had so much potential.  :-(  Sad.  Anyway, back to the play.  I know we had the chance to hear Derricks sing on Sliders a few times, but when you’re watching him perform in "Pest Control," you realize that he’s far more talented than the show gave him credit for.  The brother enunciates and projects like he’s singing at the Met instead of a small 99-seat theater in North Hollywood.  He may not be the star of the show, but he shines equally as bright as our leading man.  Kudos to you, sir.

But he's not the only stand-out performance.  I have to make a note to keep a lookout for Dana Meller (Chantelle) and John Allsopp (Reynaldo) in any future theater productions around the L.A. area.  Both of their characters were slightly over-the-top, but not to the point of distraction.  And given the play’s fun storyline and silly, tongue-in-cheek tone, their performances are perfectly suited to become the showstoppers of every curtain call.

The one thing that kind of threw me for a loop was that Reynaldo’s first song isn’t in the musical numbers listed in the program.  Also, two of the songs intended for the first act, appear at the beginning of the second act instead.  My guess is that they retooled the show after the programs were printed.  It’s a shame because Reynaldo's first song is one of my favorites from the entire show and I don’t know the name of it.  :-/

If you get a chance to see it, give the first few numbers a chance to set the tone.  It walks a fine line between being fun and being outrageous, but that’s hard to gauge when the opening number features 9 dancers dressed up like roaches.  That part feels strange and over-the-top, but it’s dialed back a bit by the time our leading man and lady belt out “It Must Be A Pheromone Thing.”  My favorite number after Reynaldo’s song about a somewhat familiar coffee chain is “Exterminator’s Blues.”  What can I say?  I’m a sucker for big production numbers, and although there isn’t a lot of dancing in this show, you can certainly appreciate the choreography and the clever use of space.  Derricks’ solo “Back Then” is lovely through and through.  Not just his voice and intonation, but the lyrics and melody as well.

The play features a solid cast.  There’s not a weak performance in the bunch.  You can tell that everyone’s really comfortable in their roles, and even though Thursday may not be considered a big “event” night, they delivered like any other.  Oh, I guess I could tell you what the play’s actually about.  Essentially, it’s about this average schmo named Bob Dillon (say it aloud; cue chuckle) who runs a successful bug-zapping company.  One night while he’s out with his fellow exterminators, he ventures into a club frequented by hitmen and contract killers.  Of course, he doesn’t know what they do for a living, and they assume that he’s one of their own, otherwise he’d know better than to stay for a drink.  So when folks start talking about their work in vague, but colorful terms, everyone assumes they’re on the same page.  Thus begins the farce.  You don’t get to see too many quality farces these days, especially new ones.  Did I mention that this is a new production?  No revival here, folks.  Yes, that’s right.  Someone out there is making new theat-ahh for the masses to enjoy.  Imagine that.

Anyway, I’ve said enough about that happy-fun-time.  Go. See.  Enjoy. There’s only 4 more performances left, but it’s certainly worth the night out. 

Quick note:  If you go to the show before it closes, don’t, I repeat, don’t eat at PitFire Pizza before or after the show.  I’m still annoyed by the $12 meal I had.  That crap looked unappetizing, and it tasted just like it looked.  That restaurant is seriously overrated.  Just because you use organic ingredients and shop primarily at Farmers Markets doesn’t give you excuse to fail culinary school.  Seasoning is your friend.