Review: Desert Theatreworks Mounts a Brilliant, Must-See Production of DEAD MAN'S CELL PHONE

A must see in a community theatre is a rare thing indeed, but a must see in a community theatre's edgy, comedic, metaphysical production is probably less likely than winning the jackpot in the state lottery. Director Lance Phillips-Martinez, however, and his company of fine actors, have pulled it off in Desert Theatreworks' (DTW's) presentation of Sarah Ruhl's DEAD MAN'S CELL PHONE.

DEAD MAN'S CELL PHONE - especially in the second act - is a very strange play that discusses morality, love, and the afterlife, and its meaning is open to interpretation - so much so that I suspect no two attendees leave with the same impression about the playwright's message. The performance license does not restrict costuming, sets, props, movement, or music, which effectively makes Lance Phillips-Martinez (DTW's artistic director, who also served as lighting and sound director) and his husband, Ron (DTW's chief executive officer, who designed the sets, costumes, and special effects), co-authors with Ms. Ruhl.

Words cannot successfully describe this production. Because the script is so odd, in less expert hands, the play could turn into an incomprehensible jumble of pseudo-intellectual babble. However, the Phillips-Martinezes have created such a visual and musical feast that it doesn't matter if anyone understands the story, any more than it does with a ballet. Lance Phillips-Martinez explained that he especially loves working in the genre of "movement theatre," and that he directed this production accordingly. "Every scene is a piece of art," he said.

The story starts routinely enough: Jean (Daniela Ryan), the woman from whose viewpoint the story is told, is finishing her soup in an almost empty café when a cell phone rings at the next table. The table's sole occupant ignores it, and it rings every few minutes, with no reaction from him. Finally, Jean goes over to the owner's table and asks him either to answer it or turn it off. When he ignores her, too, she realizes that the man has died. Jean answers the dead man's calls and promises to take messages. She shortly becomes enmeshed with his dysfunctional family, and finds herself telling them lies about the sweet things he supposedly said about them right before his death.

Jean also finds herself falling in love with the dead man's gentle younger brother, Dwight (Steven Blackwell, who demonstrates his acting chops in a role that is the polar opposite of the gangster he played so successfully in LOST IN YONKERS). Somehow, Jean manages to pierce the rock-hard exterior of Dwight's vicious mother (June August), who makes no secret of preferring her dead son. Ms. August so expertly portrays a neurotic harridan that I was almost startled when, during the Q&A session after the show, she turned out to be a nice lady. Jennifer Asbenson and Mari Kerber play interchangeable shrews, one the dead man's wife and the other his lover, and both swing successfully between tragedy and comedy. Luke Rainey, as the dead man, runs the gamut of emotions in his monologue and later, in his interactions with another character who may or may not be dead, too. Do I despise the dead man or feel sorry for him? Mr. Rainey handles his part so adeptly that I'm still not sure. As for Jean, Ms. Ryan plays her as having both a will of steel and a big heart. Who (or what) is Jean exactly - hero or busybody, or maybe both ... or something else entirely? Ms. Ryan, too, uses her considerable acting skills to keep us guessing.

The entire cast is top-notch, but the real stars of the production are the eye-catching visuals. Lance and Ron Phillips-Martinez use lighting; a stark, blue and white set; fast-paced, but simple videos; and otherworldly projections to set the mood and convey the theme. The outdoor scenes occur almost entirely in the rain, and the ensemble uses umbrellas to respond in unison to music and dialogue. In lesser hands, the choreography and other visuals could come across as corny or campy, but instead, in my view, they provide the play with most of its meaning.

Anyone looking for a creative, multi-sensory experience that pushes the boundaries of traditional theatre by integrating visual art and music into an edgy, comedic script must put DTW's DEAD MAN'S CELL PHONE on their calendars.

The others in the cast and crew are Tanner Lieser and Jenny Ferguson (ensemble); De Lane Marianowits (stage manager); Angus Feath (assistant stage manager); Kathy Taylor-Smith (light board operator); Priscilla Lawson (props); Krystofer Do (sound board operator); Stephee Bonifacio (special effects visual); and Cameron Keys (production assistant).

Remaining performance dates and times are:

Friday, September 25th - 7 p.m.
Saturday, September 26th - 2 p.m. (followed by a talkback with actors and the director).
Saturday, September 26th - 7 p.m.

Ticket prices are $26 for general admission; $24 for seniors; and $16 for students (with i.d.). Tickets can be purchased online at www.dtworks.org; by phone at 760-980-1455; and in person at the Joslyn Center, 73-750 Catalina Way, Palm Desert CA, 92260 (where the Arthur Newman Theatre is located). For pricing for groups of eight or more, call the box office, at 760-980-1455. Call the box office for season tickets.

Desert Theatreworks' 2015-16 season continues with:
Steel Magnolias, October 30-November 8, 2015
A Christmas Carol (nonmusical), December 11-20, 2015
Laughter on the 23rd Floor, January 29-February 7, 2016
Clue the Musical, March 11-20, 2016 (Over 200 possible endings)
Other Desert Cities, April 8-17, 2016

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