An issue with most theatre in this town is that it doesn’t dare to try anything new, it doesn’t offend, and certainly doesn’t stretch the minds of its audience or performers. Most plays and musicals and plays are fluff, which is respectable in its own right. It is pure entertainment and doesn’t mean anything. Directors often try to solve this problem by simply choosing tougher scripts, scripts that are edgy. But more often than not they are not directed correctly. This is not one of those cases.
Beirut is an intense script masterfully handled by director Bill Voorhees. It is performing at the Three Penny Theater at the California Stage Complex, one of the smallest in town, but it suits this piece so well. This show is raw and emotional and shows people at their worst.
David Campfield carefully plays main protagonist Torch. Campfield has been in many productions in the region, most notably Fool For Love at Capitol Stage. Jessica Neufeld who was previously brilliant in Keely & Du at ARC and also done a lot in the community. The combination of the two is explosive and correct. Their chemistry is intriguing and sexual. You have never seen live sexual tension like you will in this play. And while watching two beautiful people mostly naked (and sometimes fully) in the throes of passion is reason enough to see this play, it is just the cherry on top.
The setting is set in the “future”, in a world where we quarantine those who have tested positive from sexual disease, the problem has become so bad, sex has been outlawed. Okay, so the premise is a little out there, but they play it absolutely correctly and real. And in doing that, they say more about the topics of sex, HIV, AIDS, government, relationships, and love that has been seen in years in this city. The end of the play is painful, troubling, and leaves with a bad taste in your mouth that begs you not to applaud these horrible acts.
Now this wouldn’t be Pan A Play if I didn’t have some sour notes. If you can ding the actors on anything, it is dialects. Both accents from New York fade in and out as emotions do. The comedy of the piece doesn’t ring as loud as might be expected, and even if something is funny you feel a bit odd laughing in such an intense small space.
Overall the performances are excellent, the chemistry and tension is perfect, and you will never be bored. This is the type of theatre we need to support. This is definitely an 18 and older show though. Don’t bring the kiddies.
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