Carved In Stone
It’s never made exactly clear in which branch of the afterlife Carved in Stone takes place, but whether heaven or hell, it’s an ideal final resting place for writers.
In a faint echo of Sartre’s "Huis Clos," the play opens as an author named Gryphon Tott (Levi Damione) suddenly finds himself in a claustrophobic room that looks like something decorated by Marc Chagall. Director and set designer John Pabros Clark employs outlandish colors, odd shapes and angles, and an eclectic collection of wall clocks perpetually stuck on 5 o’clock to depict this otherworldly drawing room.
Tott, a young writer sent onward by an unfortunate encounter with a locomotive, soon discovers himself in the good company of Quentin Crisp, Tennessee Williams, Oscar Wilde, and Truman Capote. Did we yet mention that Jeffrey Hartgraves’ play is exceptionally gay?
The plot device that animates "Carved in Stone" centers on the fact that young Mr. Tott in real life was straight, and now he inexplicably finds himself in whatever Dantean ring it is where iconic gay writers congregate. As the quartet of bad boy literary lights seeks to help him unravel the mystery, they are aided by metaphysical miracles such as a magic book that opens to whatever passage one wishes to quote, and the even more wonderous magic bar that whips up any libation one fancies.
Despite several woeful stabs at profundity, "Carved in Stone" succeeds primarily as a parlour comedy. The generally sophisticated dialogue hums along jauntily, and though it lurches occasionally into turgid prose, the play’s imaginative setup and wicked satire easily make up for its clunkier moments.
Truman Capote (Kevin Remington) is the central character. He takes a great personal interest in Mr. Tott’s case (all the more believable for the fact that the talented Mr. Damione bears an uncanny physical resemblance to Jack Nicholson circa "Easy Rider"). Capote is the most fully drawn of the quartet and Mr. Remington navigates his skilled impersonation into surprisingly deep waters as the play develops.
Curt Bonnem plays Tennessee Williams with generic Southern charm. The playwright uses Williams primarily as window dressing, leaving the character to figure only marginally in the plot, but Bonnem’s impression is well crafted and authentic enough to remind us of of the venerable bond between Southern literary genius and Kentucky bourbon.
One wonders somewhat at the presence of Quentin Crisp (Leon Accord) as "The Naked Civil Servant" is hardly the literary equivalent of "In Cold Blood," or "Cat on a Hot Tin Roof." His inclusion seems primarily a function of his outré gay excess, which Mr. Accord brings out nicely, still, were Christopher Isherwood or E.M. Forster unavailable for this gig?
Jesse Merlin’s brilliant Oscar Wilde is forever dropping one of his trademark quips, suggesting that in real life, Wilde might have been something of a bore at upper crust dinner parties. In conversation, Wilde’s iconic quotes land like bad puns after which the actor, in grand style, raises his chin with a dismissive scowl and looks menacingly about to see if anyone will dare try to one-up him.
The occasional guest, such as Bette Davis, William Shakespeare, Gertrude Stein or Judy Garland for example, does drops by the salon. (Did we yet mention that the play is exceptionally gay?) All these "cameos" are performed by Amanda Abel and Alex Egan, and the two should get a room - in a Vegas lounge. Their musical and comic turns are riotous and alone worth the ticket price.
The costumes and wigs (there could be no Quentin Crisp without a gifted wig designer) are by Robert Rangel. Whether heaven or hell, the stage is handsomely lit up by John Toom.
Performances Tues, Fri, and Sat at 8, Sun at 2 and 7 through August 18 at Theatre Asylum, 6320 Santa Monica Blvd., in Hollywood. Tickets by phone: 310-473-5483, or visit the company’s website.
