BWW Reviews: Albee's GOAT a Knockout at LGBT

The Goat, or Who Is Sylvia?/by Edward Albee/directed by Ken Sawyer/Los Angeles LGBT Center's Lily Tomlin/Jane Wagner Cultural Arts Center/through November 23

Nothing like an idyllic family portrait (at left): father Martin (Paul Witten), mother Stevie (Ann Noble), son Billy (Spencer Morrissey) and close family friend Ross (Matt Kirkwood). They are what one might call perfect. They have everything and adore one another. Martin is a prize-winning architect, Stevie is his loyal, devoted mate, Billy, although a teenager and gay, is a good kid, who is encouraged by his parents to be who he is and to embrace it. Ross, a TV interviewer, is about to interview Martin about his recent award and turning 50, when the taping is botched by Martin's sudden inability to remember anything or to put a few words together intelligibly. He has a problem and who should he turn to but his best friend Ross. When Martin confides that he is having an 'affair' of sorts, Ross is shocked not only because of the fact that Martin has always been completely faithful to Stevie, but by the new object of his affection. Martin is in love with a goat named Sylvia.

When The Goat first premiered on Broadway about a decade ago, audience were aghast, and didn't know what to make of the play. They laughed, shook with disbelief, some even left the theatre horrified by the very idea of beastiality. It's 2014, and in this the latest reincarnation of the play at the LGBT Cultural Arts Center, director Ken Sawyer pulls out all the stops and directs four amazingly skilled actors in what is one of the most grueling, yet rewarding actors' emotional workouts.

Ross is startled out of his wits, writes a letter to Stevie, disclosing what Martin has confided in him and all hell breaks loose. The second scene is the confrontation between Martin and Stevie and Billy, but mostly Martin and Stevie. Albee's dialogue is so brilliantly created with one line topping the other in rapid-fire succession that husband and wife vehemently attack, counterattack, throw things around the living room and threaten to kill with Stevie avowing "You have brought me down. I will bring you down as well" and charging out distraught, leaving Martin behind to attempt to pick up the pieces. Ross returns to find Martin consoling Billy with a kiss, which he blows all out of proportion, accusing Martin of being even sicker than he thought. The ultimate crime comes with Stevie's return, bloodied and dragging her victim behind her.

Perhaps not since Who's Afraid of Virginia Woolf? has there been a piece of such tremendous power and intensity. No one approaches irrational behavior like Albee.,,and he makes us think. When we call Martin's act of having sexual intercourse with an animal a crime, this beastiality is clearly a metaphor...for we must also consider crimes of the past against Jews, against blacks - associating intimately with whites- and past and present against homosexuals - anyone, in fact who is different from the norm. Having an affair with someone out of the ordinary was and still is considered despicable and forbidden and punishable by law in many states and countries. Albee's symbolism with The Goat opens up a whole kettle of worms, so-to-speak. Whether you like it or not, you must listen and reflect. For animal lovers, there is also a heartbreaking message here. Many of us believe that animals do indeed have souls. It's a whole separate issue but should not be taken for granted, making Martin and Stevie both guilty of animal abuse.

In spite of the heaviness of the play's issues, there is still tremendous humor especially in the first half. When Martin chastises Billy for mixing his metaphors, we have to take notice and laugh, as what we are confronted with throughout is without a doubt a mixed metaphor.

The ensemble under Sawyer's deft direction are nothing short of sensational. Witten and Noble have their finest hour. Both are so focused and in the moment, particularly Noble, that the deep feelings of loss and sheer hopelessness come pouring forth from a real identifiable source of pain. Kirkwood is terrific as the Judas-like friend who feels he is doing his duty, and Morrissey is wonderful as the pained teenager experiencing double torture because of his own divergent issues. Robert Selander's set design is perfect to look at with a picturesque view beyond the curtains.

Due to the intimacy of this theatre, I enjoyed the play far more than the original. It's a powerhouse of great directing, acting, but first of all writing that grabs hold of you, holds on tight and blows you away. Whether you interpret it literally or on another level, it will leave you breathless. Don't miss it!

http://www.eventbrite.com/o/the-lily-tomlinjane-wagner-cultural-arts-center-1987526977

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