"Power" at Theatre Banshee

Let me say up front: I have seen a number of Theatre Banshee's productions and I feel them simply to be the most under-rated theater company in LA. Period. I would rather see one of their lesser shows then almost anything at the giant Ahmenson. They are that good, even if relegated to life in Burbank.

This said, I have to admit that their production -- the west coast premiere -- of Nick Dear's play "Power" is not one of my favorite offerings from this company. Again: still very damn good, but with some problems.

First strike: the script. It's a great concept--basically, it's about the personal politics surrounding the maturation of Louis IV. Louis is handed a lot of power at a young age and tries to figure out what to do with it. Ultimately he figures that what he needs to do is take it away from everyone else and truly set himself up as the ultimate power in France--forget this parliament crap. So, it's a political play, and as with many plays about the nature of politics, it's very talky. Which I don't have a problem with so much as it's talky AND not heavy on plot. Yes, things happen, but it takes a long time for them to do so, and mostly the characters talk about things they want to do rather than doing them. The wheel of The System, it would appear, moves slowly. Also, Louis--while a vital element to the story--is almost a supporting player, as the story really focuses more on his various advisors shucking and jiving to get what they want from either him or Anne, the powerful Queen Mother. Still the point the play makes is interesting: power is a two way street--you can take it, yes, but it must also be given. A universal truth, to be sure. (And watching the disturbing breadth the administration of George W. Bush has gobbled one has to wonder--in light of this play, possibly the point of producing it?--when exactly the American people and the Congress are going to stop these megalomaniacs from taking power away from us, the people? But I digress.)

Second strike: Steve Coombs, who plays Louis is a solid enough actor (there are no even *average* actors at Banshee, it seems), but he feels a little at sea throughout the play, even as his character is growing into his role as king. Not helping him is this annoying actor habit of putting one or both of his hands behind his back in every scene. "See--I'm royal! And casual!" he seems to be saying. What it really says, of course, is "I'm an actor who has no freakin' idea what to do with my hands". I wonder why the director didn't jump on him for this.

Third strike: David Pavao as Louis' brother, Philippe. From the first scene in the play we are told in no uncertain terms this guy is really, REALLY gay. This is an important plot point, but Pavao can't seem to get past playing the role as little more than a big ol' queen (as it were). He just doesn't find any more depth to this guy than the fact that he's gay, he minces and he's very uncomfortable around the women he has to deal with who aren't his mother. Somehow the fact that he's still required to put up the front of a marriage and family doesn't bring any extra levels to the performace. OK--he's gay AND unhappy much of the time because he HAS to hang out with his wife in court, as much as he'd rather not bother. To be fair, it's a funny caricature, but a caricature nonetheless.

Forth strike: the set changes were a little on the long side, and there were lots of them. The set was very effective, and they certainly did a LOT in a small space, but with every scene requiring either a cart to spin or a background to be unfolded, it didn't help the otherwise fine pace.

Fifth strike: even though the production was well-paced and McKerrin Kelly's direction was certainly solid, the play itself could stand to lose about 20 minutes.

On the other hand: the rest of the cast is terrific, the cherry on top being the awe-inspiring Matt Foyer as super-rich finance advisor Fouquet, the man who built Versailles. Foyer is in my mind one of the very best actors I've ever seen--in or out of LA. Why he's not a household name is nothing short of criminal. He's one of those actors who just makes everything seem so effortless. Also, in typical Banshee style the set is lovely, elegant, efficient and relatively simple, while never looking even a little cheap (this despite the length of the changes). Laura Brody's costumes were also lovely and effective--never upstaging the actors, but giving lots of that wacky zazz that made the British Court make fun the French Court. The sound design by Mark McClain Wilson was also solid, smart and note-worthy.

So: worth seeing? You bet! Great? Not quite. Although I would love every producer in LA to go to it, if for no other reason to see how a play is *supposed* to be produced. B+

Til next time!
--HDSQ, Jr.