The Met Theater is a modest 2-stage house smack in the middle of Hollywood. Founded in 1973, it has a prestigious history including productions with Ed Harris, Carole Kane, Holly Hunter, James Gammon and Sam Shepard. Its latest offering “Talk Radio” runs through July 27 under the careful direction of Ben Kusler and a supple supporting cast.
“Talk Radio” was created in 1987 by playwright/actor Eric Bogosian, inspired by real-life radio DJ Alan Berg. Later re-incarnations blended in “shock jocks” Howard Stern and Tom Leykis.
Story follows late-night radio host, “Barry Champlain” at an Ohio-based station. He wrestles with callers debating race, sex, drugs, politics and every other red-button issue a character mentions. Tonight, Champlain’s evening begins when he’s offered a syndication deal. He juggles the usual callers with extra pressure from his potential new bosses. The raging talker slowly unravels as the night continues. By sunrise, he may just be a changed man – for better or worse.
In 1988 Oliver Stone brought the play to celluloid where Eric Bogosian carried over into the lead role. Bogosian was as dynamic in the film as he was on stage, delivering a show-stopping performance.
In 2007, Liev Schreiber delighted Broadway audiences with his rave performance as “Champlain”. His work, combined with Bogosian’s, shows us that in the right hands, the project is a tour de force performance.
Playing Now
The Met’s “Talk Radio” is a mixed bag. Adam T. Rosencrance leads the show as the radio host. He leaves much to be desired. His appearance lends more to a Tom Leykis vibe, yet his voice and delivery is far from the love-to-hate Leykis.
With Rosencrance there’s no dynamo, no seduction over the airwaves. He’s given a lisp that makes you question the reality — what station would hire a talk show host with a lisp? He mumbles leaving the audience straining to hear. His lips contort and twist trying to keep up with the fast-paced dialogue. He’s like a musician who simply can’t hit the notes, and so listening to him for a ninety-minute concert is less than appealing.
On to the better
And yes, there is better. The real stars of the show are the silent performances in the background depicted by Tara Price and Adam Briggs. Most of the show they live through seemingly improv’ed mimicry. They flirt, they play, they work. More often than not, they steal the show.
Around forty-five minutes in, Brigg’s “Stu” character comes forefront and delivers a monologue about meeting Champlain’s character years ago. Briggs is swift, gentle, nuanced and appealing. You quickly realize he may have been a better-suited “Champlain”. Give him some funky facial hair and a wig and you have a wiry host who’s compelling and stirs the audience into a fever pitch.
Too much time later, Price’s “Linda” comes to the forefront for her monologue about Champlain. She brings many positive things to her character, but the biggest flaw is her wardrobe. Yes, she’s dressed accurately for the time period (late 1980’s). But the bright red coat contrasts too sharply from her skin tone causing a major distraction. What she does perfectly is perform. Her gentleness and sensitivity reveals a new side of Champlain for the audience. As she explains their first night together, she does the impossible. She shows the slobbering beast as a likable gent.
Appreciating Barry
After the two monologues, you appreciate the Barry Champlain character, but not Rosencrance’s performance of Champlain. And that is the fatal flaw. While the production’s dialogue and story arc are dynamic, the lead performance leaves us dry and unaffected. There’s nothing the juicy supporting cast can do. Frankly, their efforts are what kept it from sinking further.
Supporting cast includes Mark Ian Sklar, Derrick Cole, Scot Shamblin, Valerie Finkel, the always reliable Parisa Fahkri, and Patrick Censoplano. Most have only a handful of words to deliver, but each does fine work.
A second saving grace is the direction, supplied by Ben Kusler. Kusler is an independent theater veteran who has refined his skills in small houses. He understands the stage and orchestrates his players well. It’s time for him to graduate to bigger venues, growing budgets and a larger audience.
Jacob Kile’s lighting is unevenly timed. The dimming, while certainly not original, works to create the needed claustrophobia. Dion Jackson’s sound was seemingly unsupervised. At times the radio voices were distorted, others were acceptable. All of these things can be easily fixed with practice. Marc Ian Sklar’s costuming was noted earlier, he clearly had fun with the period work. At times, less is more.
The Met’s “Talk Radio” is a must-see for theater and film students. Truly. Experience how one weak element handicaps an otherwise fine production. The best education is learning from one’s mistakes. In your mind, imagine Briggs as Champlain. Or allow fellow Met alumni Eric Hailey to set the stage on fire with Champlain’s dynamite dialogue. Both alternate casting choices might have solidified the production into a stronger existence.
“Talk Radio” plays until July 27.
Thurs-Sat at 8pm, Sun at 7pm
Admission $20
Reservations (323)960-4429
Online ticketing: www.plays411.com/talkradio
For more information visit: www.TheMetTheatre.com
After reading Joe Wehinger’s review, one must stop to think if he actually watched the show or just stopped in on a hot night to enjoy the free air conditioning. As a reveiwer, I doubt he paid to see this play. I saw this show on it’s opening weekend and thought that all the perofrmances were top notch. True Adam Rosencrans is not Leiv Schrieber, but to say that you should watch his performance and imagine other actors who are in the show playing the part is just rude and mean spirirted. Do you have a personel vendetta against Mr. Rosencrans, Mr. Wehinger? Mr. Rosencrans seemed to give a great performance on the night I saw him and if his style is not your cup of tea, so be it. Leave it at that. Mr. Wehinger knocks the costumes as well. Does Mr. Wehinger know anything about costumes? They seemed to be down played and perfect for this play. Tara Price’s bright red coat looked actually like a red shirt with shoulder pads and is perfect for character and the look of the show. The red popped on the black box stage and only enhanced Miss Prices perfect Linda. It played well against her milky white complexion. Eric Hailey wasn’t even in this production so why mention him? Oh by the way Mr. Wehinger, Marc Ian Sklar gave an excellent proformance as Dan The producer and his monolouge, which you didn’t even mention was perfect. And you spelled his name wrong and two different ways in your review. I IMDB’d him and it’s Marc Ian Sklar. Your right about one thing, Mr. Wehinger. in reveiwing an equity wavier show in Los Angeles, where actors are up against no budgets, a lack of audience and piss poor reveiwers, “Sometimes Less is More….”