Review: WHEN STARS ALIGN Aligns a Simply Superb One Act
By: Gil Kaan Sep. 07, 2015
WHEN STARS ALIGN/by Carole Eglash-Kosoff & John Henry Davis/directed by John Henry Davis/Odyssey Theatre/thru October 4, 2015
The world premiere of WHEN STARS ALIGN possesses and blends together all the ingredients of a perfect time at the theatre - a brilliant cast; a formidable director; a solid, realistic script flowing at a comfortable, steady pace; and top-notched production elements. Then intermission interrupts. The second act, unfortunately, never recaptures the magnetic hold or musicality of the first act.
Carole Eglash-Kosoff & John Henry Davis have co-written WHEN STARS ALIGN based on Eglash-Kosoff's novel of the same name vividly illustrating a time in Baton Rogue during the Civil War. As firmly directed and seamlessly staged by Davis, their words flow out of the mouths of their talented cast with one scene morphing into the next. Scenic designer J R Bruce has created a clean, single, multi-purpose set of wooden planks with raised walkways and an even higher raised deck. With the able complement of Leigh Allen's lighting design and back scrim mood lighting, no set changes were necessary in evolving from master's porch to slave quarters, from bedchambers to riverbed, from brothel to plantation fields. Choreographer Arthur L. Ross keeps his cast moving and swaying so smoothly, so effectually to the joyous cotton field rhythms.
Jedidiah, the plantation owner of Moss Grove, treats his slaves fairly with respect; just as he treats his cows. Veryle Rupp grandly commands the stage as Jedidiah, the truly caring slave owner. His son Henry, on the other hand, exhibits no exemplary character traits to speak of. He treats the slaves as sub-human and his women as mere tools for his sexual pleasure. Nick Ballard conveys a totally unapologetic, unsympathetic portrayal of Henry. Ballard provides the audience every reason to be disgusted with Henry, and no excuse at all to care about him.
The house manager Sarah not only runs the everyday affairs of the Moss Grove house, she serves as mother figure to the group of slaves owned by Jedidiah. Tamiyka White embellishes her Sarah with dignity, gumption, know-how and just the right amount of sass in dealing with her boss and his son.
Pre-show begins pleasantly with Eric Charles Jorgenson playing his violin with Kaitlin Huwe singing and strumming her guitar. Huwe delivers the pre-show instructions with a lovely southern accent. Then, with a couple of stomps of Jorgenson's boot; the stage, now a plantation field, teams with activity of cotton picking and the first introduction of Henry - raping the young slave Rose (a most vulnerable Allison Reeves).
When Sarah informs Jedidiah that one of his slaves will be giving birth soon, Jedidiah's delighted for the new addition, but totally mortified/horrified that the baby's the result of his son's rape of Rose.
Years past with Henry and Rose's baby growing into a teenager. Jason Wood's a winning, very involving Thaddeus. Jedidiah takes to the raising of Thaddeus as if he were his own son, teaching Thaddeus to read and write.
Elizabeth, a young single girl setting her sights on marrying Henry, visits Moss Grove with her younger sister Amy in tow. Sarah Lyddan seizes the ample opportunity to stretch her acting chops as Elizabeth, the coy innocent who Henry turns into his wedded object of abuse. Elizabeth suffers quite a lot from the hands of Henry.
Haley McHugh embodies Amy as the unsophisticated tomboy preferring to wear overalls over lacy dresses like her older sister. McHugh's Amy and Woods' Thaddeus' initial meeting scene hits all the right notes of innocence, teenage awkwardness, and budding attraction. Actually, McHugh and Wood nail every scene they're in. Nice!
One of the most effective, gut-wrenching death scenes I've experienced in Los Angeles theatre has to be of Faris and Rose. Nic Few as the re-captured escaped slave Faris and Reeves as his grieving lover -- rivers of tears inducing! Bravo, Few and Reeves!
Benai Boyd shows off her strong singing chops as a 'Slave' and her acting talents as the 'smarter than anyone else in the room' brothel owner Melanie. Jacques C. Smith also displays his muscular vocals in his dual roles of Luther, a slave, and Rufus, a fellow soldier and friend of Thaddeus.
Kudos to Michael Mullen's appealing period costume design.
Others providing sturdy support in smaller multiple roles include: Brad C. Light and Camron Jones.
By the time the first act ends, enough of Henry's hateful activities had been presented. Act Two displays too much more. Ending at the close of the first act would have been more than satisfying.
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