HUMAN, ALL TOO HUMAN
There is a world premiere now playing at Actors Co-op in Hollywood that is both ambitious and successful. The Human Comedy, set in the fictional California town of Ithaca in the San Joaquin Valley (think Fresno area), was first written as an MGM screenplay by Armenian-American William Saroyan, who was also a novelist and playwright (his 1939 The Time of Your Life won a Pulitzer). When he was released by MGM for refusing to shorten his 240-page script in 1942, he immediately novelized and published it before the film’s release in 1943. For me, Saroyan’s greatest works were his short stories, mostly based on his Depression-era childhood and family, published in collections such as My Name Is Aram (1940). In the novel The Human Comedy, chapters with narration and dialogue are actually short stories woven into a literary mural, which may be one reason why the book has not been adapted for stage until now. There was a successful 1983 Public Theater sung-through musical with book and lyrics by William Dumaresq and music by Hair‘s Galt MacDermot, but it flopped when it moved to Broadway (the terrific 2-hour Original Broadway Cast Album was released in 1997, and is available streaming; good luck finding the CD).
Jessica Woehler, Finn Martinsen, Tricia Cruz,
Brendan Shannon, Adrian A. Gamez, Mitchell Lam Hau, Ben Kientz
The timing of this heartfelt play is perfect following the COVID shutdown, during which many found themselves struggling with loneliness, a trait Saroyan believed is at the heart of the human condition. Adapter and director Thom Babbes tightened the lengthy book, excising some characters while centering his production on the selfless, compassionate actions of the townsfolks — actions which counteract the essential loneliness that permeates humanity. This is what stands out for me. Time and again, I found myself highly moved by the generous behavior of the people of Ithica, especially since they (and we) are also, as Nietzsche wrote, human, all too human.
Marc Elmer, Brendan Shannon, Finn Martinsen
During World War II, 14-tear-old Homer Macauley is a small-town telegraph messenger. His father Matthew died two years before and his brother Marcus (Mitchell Lam Hau) is in the Army, so Homer takes it on himself to be the man of the family. Over three non-consecutive days, it is through his job that Homer discovers much about the human condition and about himself, as he often delivers news dealing with death and loss. Matthew (an empathetic Marc Elmer exuding a generous spirit) has been assigned by Babbes to narrate the story. At the opening, Homer’s younger brother, Ulysses (effective, authentic young lad Finn Martinsen), represents the essence of childhood’s unadulterated joy as he waves to a friendly Black man (Jessie Oriabure) going home on a train (when the man shouts, “I’m going home,” it sets up a permeating theme resolved at play’s end). The innocence of both Ulysses and Homer begins to change following one of Homer’s earliest death-notice telegrams to Mexican mother Mrs. Sandoval (Tricia Cruz), who treats Homer as if he were her lost son. Homer will come to learn that his self-contained world is part of a bigger, more complex existence.
Tiago Santos, Ben Kientz, Mitchell Lam Hau, Jessica Woehler,
Brendan Shannon, Finn Martinsen, Eva Abramian, Tricia Cruz
In two hours and forty-five minutes, we will meet thirty distinct characters created by this fourteen-member ensemble, all but four of whom play multiple parts. Of essence are Mr. Spangler (a delightfully caring and calm Kendall Lloyd), who works at the telegraph office; the alcoholic, religious 67-year-old telegrapher Mr. Grogan (a convincing Bruce Ladd); the boys’ widowed mother Katie (a combination of sadness and wisdom from Jessica Woehler), and their older sister Bess (a snarky Eva Abramian). Far from home, at his Army training camp, Marcus tells his buddy Tobey (brought to life with stunning simplicity by Tiago Santos) about his idyllic life in Ithaca, which Tobey, an orphan, dreams about.
Marc Elmer, Mitchell Lam Hau, Tiago Santos
Mr. Spangler is smitten with life-of-the-party Diana Steed, and Rachel Maye Aronoff let’s us know just how delightful it is to be in love. Aronoff also offers a sympathetic Helen Eliot, whom Homer considers the most beautiful girl in the world. Alas, she is the girlfriend of wealthy, snobby Hubert Ackley, who is Homer’s least favorite person. Mitchell Lam Hau’s knockout performance is so wholly different in physicality and tone from Homer’s brother Marcus that I didn’t even know it was the same actor until I glanced at the program.
Finn Martinsen, Marc Elmer
There are also characters at school who add to Homer’s increasing awareness of the world. Mr. Byfield (scary Ben Kientz) is an elitist bullying gym coach who actually tackles Homer during a race. One of the delights in the show is noticing how community takes care of its own disputes: World-weary history teacher Miss Hicks (Cruz) and Principal Ek (Woehler) remain focused on doing what is right regardless of how it might affect Homer’s relationships with parents, staff, or the nasty Coach. Today, the tackle incident would have turned into a lengthy court battle.
Brendan Shannon, Bruce Ladd
At the center of all this is Brendan Shannon, who, besides being ridiculously handsome and fit, embodies Homer’s many traits: optimism, charisma, eagerness, vulnerability, and sweetness. His mannerisms not only define the feeling of the show, but make it all that much tougher to observe his journey from wide-eyed enthusiast to somber-yet-loving adolescent. It’s a thrilling performance.
(back) Kendall Lloyd, Jessie Oriabure, Ben Kientz,
(front) Adrian A. Gamez, Mitchell Lam Hau, Tiago Santos
Babbes creates some spine-chilling coup de théâtres: As Homer competes in a track meet, fellow actors lift him as he crosses hurdles in slo-mo, and when actors hold aloft Homer’s bike as he pedals against Nicholas Santiago‘s moving projections, it is as thrilling as E.T.’s airborne bike ride. Tim Farmer’s set consists of a turntable and a row of doors, a resourceful way to represent the many locales but proves to be a bit clunky. Martha Carter’s lights avoid the pitfall of floods, emphasizing important moments with gentle spotlights, memory-play blues, and stark backlighting. Shon Le Blanc’s costumes are not only era-appropriate, but fitting to the character: Army men are in crisp beige while civilians’ outfits look lived in (sadly, many of Judy Lewin’s wigs simply don’t cut the mustard in comparison). There’s also dreamy, reflective music composed by Cooper Babbes. David B. Marling’s sound does wonders at a party as the front door opens and closes.
(in the air) Mitchell Lam Hau, Brendan Shannon
In its genteelness, sense of community, and reaction to death, Saroyan’s world of Ithaca resembles the equally fictitious Grover’s Corners from Thornton Wilder’s Our Town, which opened in 1938. Some patrons may scoff at the show’s length, as some scenes become draggy in Act II, but that is not because of the acting. The Human Comedy may lend itself to film, but it’s a tough nut in theater as this adaptation proves — it simply doesn’t allow for a forward thrust like epics such as 1982’s The Life and Adventures of Nicholas Nickleby. So, even though this isn’t a perfect production, there is so much love, hope, and poignancy that I offer up a hearty recommendation.
Mitchell Lam Hau, Brendan Shannon, Marc Elmer
photos by Larry Sandez
The Human Comedy
Actors Co-op, The David Schall Theatre, 1760 N. Gower St in Hollywood
Fri and Sat at 8; Sun at 2:30 (Sat matinee April 1 at 2:30)
ends on April 23, 2023
for tickets ($25-$35), call 323.462.8460 or visit Actors Co-op