Fringe Feast #3: “Nicky” Drags, “Buffy” Slays

Fringe shows often focus on the tastes of a particular fan base.
Here are two such, one for Chekhov lovers, one for vampire nerds.

Daniel Kaemon, Emily Swallow, Cyrus Wilcox, Chris Aguila, Taylor Hawthorne, Mark Jacobson, Alexis Genya, Jeremy Lelliott (photo: John Klopping)

Nicky:  Wilting in the Palm Springs Heat

Playwright Boni Alvarez loves challenges.  Last year, he told a comic horror story:  Tourists meet real witchcraft on a Philippine island (Bloodletting – see my review, below).  It worked.  We laughed and shivered, and came away with our sense of reality altered.

This time, he’s transformed Ivanov, an early Chekhov comedy, from rural Russia to a bevy of emigres in Palm Springs.  Besides ennui, these well-to-do but clueless folks are immobilized by the desert heat.  It’s a clever idea; so is turning the shirt-tail niece who seduces Ivanov into Nicky’s gay nephew, and filling out the house party with the lad’s oh-so-millennial college friends.

Their youthful energy manages to keep things moving.  But ultimately, despite some impassioned monologs, we can’t quite feel the demons that have Nicky and the other adults in their grip.  This isn’t Alvarez’s fault:  Finding the egotistic energy beneath a character’s self-deception or self-flagellation is no easy trick. Chekhov’s comedies always threaten to collapse into depressed tragedy as a result, and he and master director Konstantin Stanislavski fell out over this very issue.

Still, Coeurage Theatre Company gives this world premiere their best — and they’re some of the finest professionals on the LA stage. The set design (Benoît Guérin) and costumes (Karen Fix Curry) clearly set us in the desert resort, the lighting (Azra King-Abadi) and sound (Michelle Stann) create a blaring bright world for these poor folks to try to survive in, and the direction (Beth Lopes) is crisp and clear.  The actors pour their energy and wit into the piece.

If you love Chekhov, you’ll get tickle after tickle out of the ways Alvarez has found modern analogs for the 19th-century Czarist world.  But this isn’t probably the place to meet the great ironist: The Palm Springs heat stifles our empathy, wilting his comedy.
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Nicky,  by Boni Alvarez, directed by Beth Lopes.
Presented by Couerage Theater Company, at the Greenway Court Theatre,  544 N. Fairfax Ave., LA 90036.

Thursdays, Fridays and Saturdays at 8:00 pm,
through July 1.

Tickets:  (323) 673-0544  (Free parking in next-door lot.)

*****                                                      *****                                                     *****

Sherry Berg, Lauren Sperling (photo: Daniel J. Sliwa)

Buffy Kills Edward:  When Vampire Worlds Collide

Vampires and high school girls.   Is that a  thing?

It’s enough of a thing to propel Laura Wiley, composer for last year’s smash parody, Winter Is Coming, into taking on a bigger challenge. She’s written the book, music, and lyrics for — and produced and directed– a musical parody mashup of the two best-known worlds where campus queens consort with creatures of the night.

The title — Buffy Kills Edward — gives away the precipitating event. After the teenage Slayer from the turn-of-the-century TV series (Laura Berg) vanquishes the glittery hero of the Twilight novels and films (Casey Suddeth), all of both hells breaks loose.  (Or most of it: Fans at one point began shouting to see their favorite minor characters, and were rebuffed smartly. )

As with any parody, the more you know about the story — in this case, numerous stories in two very different fictional worlds — the more jokes you’ll enjoy.  But this story tells itself clearly, including sharp meta jokes about the telling process on the stage and in TV, books and movies.  (The retired couple next to me, who were 50 when Buffy came out, laughed and cheered.)

Wiley’s storytelling is helped by some crackerjack resources borrowed from the house’s resident troupe, Cherry Poppins. Most notable are a remarkably skilled band — Krishnan Swaminathan, Ray Rojo, and leader Sandy Chao Wang  — and the feisty acting and incredible singing of Kim Dalton.  (I confess it: After seeing Dalton, and a Wang-led band, in two shows, I’m hooked.  These are stellar talents; enjoy them as soon as you can.)

It would be foolish to try summarizing the plot of Buffy Kills Edward. Suffice to say Wiley and the troupe sustain a lively, silly romp that’s both tribute and satire at once.  Also: Wiley has a gift for songs that focus and advance the story, and makes very effective musical use of differing characters and motives.  She also has a keen wit, and an eye for a story’s weak points — her own as well as other authors’.  We may be watching the birth of a one-woman Gilbert & Sullivan here.

Buffy is great fan service, and good fun for everyone.  It may not be at the same level of complex achievement as Cherry Poppins’ stunning  Shakeslesque, currently on the same stage.  But it’s not supposed to be; and what it does, it does very well.  (And it’s good to see these highly original artists joining forces — we’ll all be the richer for it.)
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Buffy Kills Edward: A Musical Romp, written, composed and directed by Laura Wiley. Presented by Wiley Original Musicals, at The Three Clubs, 1123 Vine St., Hollywood 90038.

Thursday (June 22) at 7:30 pm.

Tickets:  Sold out, but worth a try:  Get on standby and grab a drink.