Theatre Review: Baby Foot

Rogue Machine presents The West Coast Premiere of Baby Foot. Written and directed by Tim Venable. Produced by John Perrin Flynn, Guillermo Cienfuegos, Brett Aune, Clay Hollander. Associate Producers: Justin Okin, Rebecca Larsen. A Rogue Machine Production.

Alexis (Hope Lauren) says “I’m afraid to leave”. Blackie (Daniele Dorr) answers “I’m afraid to stay”. In Tim Venable‘s Baby Foot, the rehab center becomes heavens, hell, and the purgatory at the same time. As in many cases, the drugs in the story are used to induce a delirium between reality and fiction, a tool to bury the pain, specially the emotional one.

Reading between lines, it seems that Alexis had emotional scars derived from sexual abuse. She is a musician, planning to move to New York to start a new life. She projects an image of self-confidence that sounds cliché at the beginning. But as the story unfolds, she displays a sense of insecurity and an urgent need of human connection that is disarming enough to capture Blackie’s attention. Although she has the will to turn her life around and leave her drug days behind, she is still a human being with the potential to fail in the blink of an eye.

As for Blackie, he is in rehab due to a court order. He is married and has a son. He is a manager and also an actor. He seems cocky at first, but as usual, it’s just a facade to conceal his weakness. He is terrified about failing to complete the rehab program. His distress is so obvious that Alexis feels compelled to offer her support. At that point, they start connecting on a deeper level. However, under those unstable circumstances, that relationship can easily turn into a support system or a self-destruction journey, leading to a life or death situation.

Keeping everything together at the rehab center is Fred (Paul DeBoy), a drug addict that came into the center years go and stayed as a handyman. He has seen it all and helps people to complete the program. He is also very discreet when he sees the shenanigans going around among the addicts.

Tim Venable delves into the possible outcomes of drug addiction. He provides hope, but is also fully aware of the recovery mantra “one day at a time”. Alexis’ hesitation to leave and Blackie’s hesitation to stay reflect the uncertainty of what the future holds. It also provides an incentive for the characters to create a dynamic relationship where the weakness of one motivates the strength of the other, in a vicious circle of attractive fragility. The beginning of the rehab program can be as terrifying as the end of it, as there’s no guarantee of success. Nevertheless, Venable shows that there’s a light at the end of the tunnel. It’s just a matter of personal willingness to get there.

Baby Foot

Rogue Machine (Upstairs at the Henry Murray Stage in the Matrix Theatre)
7657 Melrose Ave, Los Angeles, CA 90046

Opening: 5pm on Saturday, October 14, 2023
Schedule: 7pm Fridays, 5pm Saturdays and Sundays, 8pm Mondays
(No performances on Monday October 30th)
Closing: November 20, 2023

Ticketsroguemachinetheatre.org

Written and directed by Tim Venable. Cast: Hope Lauren, Daniele Dorr, and Paul DeBoy. Produced by John Perrin Flynn, Guillermo Cienfuegos, Brett Aune, Clay Hollander. Associate Producers: Justin Okin, Rebecca Larsen. A Rogue Machine Production. Creative team: Dane Bowman, Joe McClean (Production Design/TD), Leanna Keyes (Sound
Design), Chris Moscatiello (Sound Consultant), Victoria Hoffman (Casting).
Recommended for ages 18+

 

Theatre Review: Walking in Space

Theatre West presents the world premiere of Walking in Space. Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Meg Lin produces for Theatre West.

Is drug addiction a moral failure or a brain disease? A debatable topic for sure. Current scientific studies are underway to have a better understanding of the brain circuits involved in rewards, stress, and self-control, and the environmental factors—family, school, and neighborhood—that might lead or predispose a person to addiction. In Walking in Space, playwright Garry Michael Kluger goes back to 1972 and takes from his own family history to present a story, part real, part fiction, where the collateral damage of addiction weighs on four siblings who are left alone to deal with their mom’s abuse of Placidyl, a sedative-hypnotic medication prescribed to treat insomnia.

In the story, Lori (Liv Denevi), a 17-year-old, is in charge of taking care of her mom Francine (Kathie Barnes), a divorcée who has become addicted to barbiturates. To check on their mom after a fall, the other three siblings come to visit. The oldest is Patti (Mary Elisabeth Somers), a young woman who is trying to keep her professional and love life afloat while still looking after her mom and younger siblings. Next in line is Kirby (Cecil Jennings), a recent grad who is at risk of losing his new job due to his mom’s addiction. There is also Matthew (Hogan Mason), a college sophomore who has a special connection with Francine and is the one that talks her into going to the hospital to treat her addiction problem. Also in the picture is Dr. Jerome Collar (David Mingrino), the family physician who comes up with the recovery plan. And lastly, there’s Keith (Andrew Cereghino), a medical resident who is trying to convince Patti to stay together once and for all.

Even though it deals with harsh realities, the play presents the thorny issue of addiction with a good dose of humor. Director Arden Teresa Lewis allows the characters to explore their most vulnerable spots and find places to build up the strength to thrive under negative circumstances. In this case, humor, as light as it might seem at times, is a critical mechanism to survive.

Through Francine’s exposition, we learn that her upbringing was a difficult one, forced to grow up very early to become a housewife. A different era, a different mindset. It is here where the environments play a decisive role in predisposing someone to a life of addiction. For Francine, drugs became an escape from her world of limited possibilities. Again and again, escape seems to be a determining factor to fall into the downward spiral of addiction. In Kluger’s own words, “it’s always the same, no matter the drugs”. The underlying issues are always the same.

As more families face the daunting challenges of drug addiction, Kluger tells us that it is OK to feel tired, frustrated, emotionally drained, and hopeless. As the characters show, whether an intervention is successful or not, sometimes family members feel guilty, leading them to think that they’re not doing enough to save the loved one. And that is one of the most valuable takeaways from Walking in Space: It is OK to feel that way. It is part of the recovery and healing process. Patience and sacrifice are just part of the game.   

The result of Kluger and Lewis’ work with the actors is an entertaining and touching production that gives a sense of hope for whoever is dealing with similar issues. No matter how difficult the situation might be, there’s always something positive that comes out of such a dark place. In the case of the four siblings, the ordeal they been put through makes them grow more united and builds their strengths to face life as adults. Their interdependency creates an unbreakable bond that transcends their mom’s addiction. They know that they have each other’s back, no matter the issue, no matter the distance. At the end, “it was just us.” 

Walking in Space

Theatre West
3333 Cahuenga Blvd. West
Los Angeles, CA 90068
(across the street from Universal CityWalk, between Barham and Lankershim)

September 8 – October 8:
• Fridays at 8 p.m.: Sept. 8, Sept. 15, Sept. 22, Sept. 29*; Oct. 6
• Saturdays at 8 p.m.: Sept. 16, Sept. 23, Sept. 30; Oct. 7
• Sundays at 2 p.m.: , Sept. 17, Sept. 24, Oct. 1**; Oct. 8
*ASL interpreted performance on Friday, Sept. 29 at 8 p.m.
**Sensory-friendly performance on Sunday, Oct. 1 at 2 p.m.

Ticketstheatrewest.org

Written by Garry Michael Kluger. Directed by Arden Teresa Lewis. Starring Kathie BarnesAndrew CereghinoLiv DeneviCecil JenningsHogan MasonDavid Mingrino, and Mary Elisabeth Somers. Presented by Theatre West. Creative team: Scenic designer Ernest McDaniel and lighting designer Malcolm Wilson. In addition to directing, Lewis takes on costume design. The assistant director is Amelia Vargas and the production stage manager is Dillon MountMeg Lin produces for Theatre West. Walking in Space is supported by the L.A. County Department of Arts and Culture as part of Creative Recovery L.A., an initiative funded by the American Rescue Plan.