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Compass Theatre ● 3704 6th Avenue ● San Diego, CA 92103 ● (619) 688-9210 |
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BAD NIGHT
IN A MEN'S ROOM OFF SUNSET BOULEVARD by Ira Bateman-Gold Directed by J. Marcus Newman Pay What You Can Industry Night Monday June 22nd. Buy $10 tix online or pay what you can at door. • June 6 Special Child Abuse Talk Back with Yaron Pruginin, Psy.D. Clinical Psychologist • June 11 Special Transsexual Talk Back with Connor Maddocks MUST CLOSE JUNE 28TH
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Photo Credit: Paul Savage
psavage@savages4hire.com
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| Ed Cao as Jamie | Click Hi Res | |
![]() Photos from here to bottom are by O.P. Hadlock |
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| Dale Morris as Jake | Douglas Myers as Michael & Marilyn Wolf as Esther | |
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| Ed Cao & Douglas Myers | O.P. Hadlock as Morty | Ed Cao & Douglas Myers |
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| Douglas Myers, Marilyn Wolf & J Marcus Newman |

San Diego ArtsBad Night in a Men's Room off Sunset Boulevard at Compass TheatreA performance to enjoy in a play that needs work Kudos to Dale Morris, the founder/executive director/artistic director of the Compass Theatre, at 6th and Pennsylvania in Hillcrest. He’s making a terrific effort to bring low-cost-low-budget serious theatre to San Diego. And, in Compass’ current production, “Bad Night in a Men’s Room off Sunset Boulevard,” he also turns in a first-rate performance as an actor in a show that still needs some work. “Bad Night” hasn’t been labeled as a world premiere, but apparently it has been worked on in rehearsal by the company. Penned by “Ira Bateman-Gold” (a name that Mr. Morris has used for his writing activity in the past), the story is set on the stage of a struggling regional theatre in an unnamed heartland state. The time is 1982, and Michael (Douglas Myers), a Hollywood movie star, has returned home to appear in an Irish play that his mother, Esther (marilyn Wolf) is directing. Michael has recently been in the news because he was arrested while having sex with a transvestite in a men’s room off of Sunset Boulevard, and his wife, kids, and all of Hollywood, including his manager, Morty (O. P. Hadlock) have deserted him. Photo credit: Paul Savage If Michael’s situation wasn’t bad enough, a local church group has gathered outside of the theatre to protest his presence in town, and his alcoholic father, Jake (Mr. Morris), who is estranged from his mother, is nevertheless playing his father in the Irish play. And, the theatre’s tech person/hanger-on is a transgendered man named Jamie (Eduard Cao), who is considering sexual reassignment surgery and who also has nurtured a crush on Michael since high school. In Act I, everyone’s pretty unhappy, except for Jamie. Esther feels stuck and unfulfilled at the theatre, and she’s upset that the only reason anyone is paying attention to her play is that her disgraced movie star son is appearing in it. Michael’s world is crumbling, and he’s unhappy that he had to go home to face his homophobic father and a continuing protest against his presence. Jake is grouchy about having to work with his estranged wife and a son who says he’s not gay but doesn’t seem sure about his statement. Morty is unhappy about losing a meal ticket. Only Jamie is thrilled to have the high school boy of his fantasies back in town. And, once Jamie dresses as a woman, Michael takes notice. Act II focuses the relationships among Michael, Jake, and Esther, with Jamie’s presence, dressed as a woman, hovering over the proceedings. Some truths are told, but mostly hurts are exposed and resolved. The writing becomes crisper, the humor lands better here than in Act I, and the characters come into greater focus, under J. Marcus Newman’s direction. Mr. Morris, in particular, gives a fully-realized portrayal of a man torn by conflict between the people he loves, his love for the theatre and for making plays come to life, and his debilitating addiction to alcohol. The play still needs a considerable amount of work. There are a number of anachronisms in the text that don’t jibe with social conditions in 1982. Most particularly, we never discover why Michael is so attracted to transvestites that he becomes willing to sacrifice everything in his life for the sexual thrill of being with one; in fact, the character of Michael remains somewhat opaque throughout, and Mr. Myers seemed somewhat uncertain about how to play his contradictions on opening night. But, there is humor, pathos, and grains of truth here, particularly in Act II. And, there is the pleasure of watching Mr. Morris create a most moving performance. “Bad Night in a Men’s Room off Sunset Boulevard,” continues through June 28. It performs Thursdays, Fridays, and Saturdays at 8pm, and Sundays at 2pm. The show contains nudity, adult situations, and considerable foul language.
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We all make mistakes. Most are
inconsequential and private. Some, however, are life changing;
especially in 1982. In the case of Michael (Douglas Myers),
an indiscretion in a gay restroom ends his budding film career.
He questions his sexuality. Thus begins Ira Bateman-Gold’s
Bad Night in a Men’s Room Off Sunset Boulevard
currently running at Compass theatre. In much of the opening scene he is
basically catatonic as his mother, Esther (Marilyn Wolfe),
rants, trying to break through his stoic façade. The action
takes place in the little theatre where she has directed for
over 30 years. She, too, has frustrations. We meet her estranged
husband Jake (Dale Morris), his father, only to find that
he was raised by totally dysfunctional parents. Both have their
own problems concerning relationships and sexuality rooted in
their past. For a very short time we meet Morty (O.P.
Hadlock), Michael’s ex-manager. It is understandable why he
is dropping his client, just very, very sad. It is the entrance
of Jamie (Eduard Cao) into Michael’s life that creates a
permanent change. Jamie is charming. Jamie is
aggressively gay. Jamie is irresistible to Michael. It is lust
and love at first sight. With mom and dad out of the way, the
two take only moments to strip each other. Their embrace is long
and sensual. They retire to a room behind the main set. A dark
screen and low lighting barely (pun intended) illuminate the
action taking place. As they say, the rest is history. Esther, meanwhile, has an Irish play
to direct. She admits that Jake, an accomplished actor, is ideal
for the role. Mixing the two, though, is very dangerous. They
begin reading lines and move into a serious argument. The
argument is spiced by slipping in and out of a heavy Irish
accent. It is one of the best scenes in the play. Bad Night in a Men’s Room Off
Sunset Boulevard will not appeal to
everyone. I realize that the nudity and profanity will upset
some. However, the power of the acting from the cast is
excellent. Director J. Marcus Newman got every ounce of
emotion out of his cast. O.P. Hadlock was also
responsible for light, sound, and set design, all of which
worked well for this production. The pre-show sound effects set
the scene well. Lisa Burgess, responsible for costume
design and props, did her usual highly professional job. The playwright, Ira Bateman-Gold, is
very shy. Note that he is covering his face in the program. I
spoke to him after the production, but he quickly left, never
acknowledging his additional role as the writer. Interestingly
his play A Hundred Birds also premiered at the
then 6th@Penn theatre. His most famous play,
Disfunctiong Disfunctionals in a World Lain Waste,
allegedly opening in Oakland, and his Pulitzer Prize play
collection Crying Tears While Straining
proved elusive in a Google search. Even with his many deceptions
we find his current work quite interesting. Hopefully you will
see him at the performance you attend. In fact, I’ll guarantee
it. Bad Night in a Men’s Room Off
Sunset Boulevard plays Thursday to Sunday,
June 5 to 28, 2009. For information and reservations call 619
688-9210 or go to their website
www.compasstheatre.com.
The rest of the year they will be performing Albee’s Who’s
Afraid of Virginia Woolf, Mamet’s Boston Marriage,
and
Hitch |