Anyone known to resemble Blanche DuBois is going to be quite a character. As the literal inspiration for Ms. DuBois, screen and stage actress Tallulah Bankhead was quite the character indeed. Her colorful life in Hollywood and New York was fueled by drugs, alcohol and tobacco, leading to an admirable “idgaf” attitude that many of us could only dream of. Her personality and much of her life story have been memorialized in “LOOPED” by Matthew Lombardo, currently produced by The Roustabouts Theatre Co. The play is based on an actual event of Tallulah needing to rerecord, or “loop,” a line of dialogue needed for a film. What should have been a quick, half-hour session turned into an eight-hour endeavor that almost kills the poor film editor.
The play is very much a comedy, with laugh-out-loud moments that begin right out of the bat. However, parts of Tallulah’s life were quite sad and, eventually, lost to time. What starts out simply as borderline slapstick becomes a drama, with both Tallulah and the editor, Danny, divulging their more intimate life details that turn this comedy into something more sincere
The actors are what make this production thrive. Eileen Bowman as Tallulah is a powerhouse of a personality that shines every time she is on stage, only to wear down the exasperated and overworked Danny, played by Alex Guzman. The two have great chemistry as they play off of each other, both during the sillier moments and the more serious ones. Bowman brings her A-game with the comedy, dropping F-bombs and slurring her words in all the right places that left the audience in stitches. Guzman, in particular, really shines during the more dramatic moments as his character breaks down, and we see what lies beneath the stern persona he has adopted throughout his life. Bowman’s Tallulah learns to ease back the boisterous exterior and take on a more serious tone as the story shifts from superficial comedy hijinks into a more earnest story. With great direction from Phil Johnson, the two opposites settle into a feeling of mutual understanding that can really be felt as an audience member.
Chris Braden, as Steve, serves as the “voice of god,” helming the sound booth of the recording studio. Braden actually sat in the booth at the back of the theater, and unfortunately, he was so removed from what was happening on stage that much of his dialogue appeared to be a voice-over at first. It wasn’t until he physically came out on stage–with a charming and adorable bit of comedy–that you realize there’s an actual actor performing these lines live. The set design by Tony Cucuzella was well done and effective, but it might have been nice to have Braden in a booth on the actual stage for the audience to clearly see. There is much more to an acting performance than the dialogue, and being able to see Braden’s body language and facial expressions would have added another layer of comedy that felt missing from the final product.
The main drawback of the production is the script itself. Toward the end of Act I, Tallulah gives a monologue reminiscing on her past. The monologue is exasperatingly long, and just as you think it’s about to end, it continues to be even longer. This is not the fault of the acting or the directing; both are done well with the given material. The monologue itself could have been cut down at multiple points, which would have greatly helped the pacing; there are many other moments during the show that fall victim to this, as well. Unfortunately, the initial Broadway run of this play was not a smash success, and based on the script, it’s easy to see why. The show also relies almost entirely on “pretty girl swears like a sailor”-type humor, which isn’t very subtle. Tallulah Bankhead was not a subtle person, but if you are looking for a comedy with a little more wit and nuance, this might not be the play for you.
The show thrives at its highs and suffers at its lows, but overall, Rousabouts has put on an intimate and fun production. The show is carried by its talented actors, with performances that are memorable, funny and endearing. If you’re interested in seeing a slice of what San Diego theatre has to offer, “LOOPED” is a showcase all on its own.
“LOOPED” plays October 11-20, 2024
(Photo Credit: Daren Scott)
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