In a world of media blitz, instant gratification, hollow sentiments, and transient values, it's hard to forge honest bonds in relationships or create meaningful art. It is with this truth that Dustin Goltz begins his multimedia dramatic comedy, L.A. Numb. He presents three disparate characters living in the cacophony of contemporary Los Angeles. Writer/waiter Corey is working on a "two man roadtrip script" while slowly losing his artistic impulses in the stifling lack of his personal connections. Corey's roommate, Shel, is an actress/waitress who is shutting down emotionally as she is faced with failure after failure both in relationships and in art. Corey's love interest, Ben, is a brilliant and psychotic magazine editor/prophet who is so busy accurately observing that he cannot connect with anything. These three become entangled in a series of network television situations that progress to made-for-cable-like harrowing encounters.
This original work is very good, and holds promise to becoming a great piece. The first act is an enjoyable gloss, ranting against a sitcom existence while showing the life-numbing effects of consistent artistic and personal failures. While it is very funny, and often makes some great observations in a clever-though-overly-self-referential way, it gives the impression of being nothing more than the type of twentysomething angst play that most playwrights (myself included) write in graduate school. Just before the intermission, the stakes are raised, and the play moves into the second act in a style reminiscent to the now formulaic plot movement of Nicky Silver: First act humor, second act terror. Mr. Goltz, with the help of director Jennifer Linde, wisely has yet another twist, progressing beyond most contemporary playwright's white-then-black attitude of fashionable nihilism and discovering some deeper truths in the process.
Ms. Linde has done an excellent job. Every movement is justifiably choreographed, and the pacing is nearly perfect. The piece is highlighted by three great performances. Ryan Bailey is phenomenal as the creepy Ben, whose odd way is balanced by the undeniable truths he spouts. Mr. Bailey gives emotional breadth to a character that could easily be too darkly played. Rachel Tressa Dempsey is both humorous and heartbreaking as Shel, giving life to her character during a hilarious audition scene, and in her silent desperation as she stares at the television in an inconsolable funk. Mr. Goltz plays Corey with the familiarity that an author can bring to his work. Fortunately, Ms. Linde does not let him fall into the trap of under- or overplaying that plagues playwrights performing their own pieces.
The TheAter N.umb ensemble has found ways to integrate the multimedia aspects of the piece with the more traditional scene structure, and Tech Director Jim Griffith has given the best presentation possible to Mr. Goltz' technically intensive script. Joey Michitch's Video Production adds even more to the evening, while Shaun Lee Stamper's Sound and Video Operation was intensive and seamless.
The piece works well, but it still needs some
polish. Corey sometimes comes off as too façadal to completely
commit to his torment. Shel's complaints of being portrayed as
an unrequited lover or "fag hag" in Corey's script sometimes
ring too true. Ben, for all of his interesting pronouncements,
does skirt the edge of caricature. A bit of balance between the
first and second acts might also be nice. This script does deliver
a lot, though, and holds promise for even more, both for itself
and for the playwright.
Production Details:
L.A. Numb by Dustin Goltz
TheAter N.umb
Theater One at Phoenix College, Phoenix (For a
map to location, click this
link)
(602) 996-3672
September 7th - 16th, 2001
L to R: Ryan Bailey as Ben, Dustin Goltz as Corey,
Rachel Dempsey as Shel
PHOTO CREDIT LAURA DURANT