A Family’s Skeletons are Tucked in Glamour, Hollywood, and Bent Truths
It is 2004 in the upscale house of Polly (Rosina Reynolds) and Lyman Wyeth (Alan Rust) in Palm Springs. The couple in their youth took Hollywood by storm to later engage in more serene roles while caring for their three children. It has been six years since the oldest daughter, Brooke (Melanie Lora Meltzer), has partaken in a family setting. A prolific author, she returns to California from Long Island to celebrate Christmas with her parents, her younger brother Trip (Geoffrey Ulysses Geissinger), and her aunt Silda (Debra Wanger). The family’s artistic vein kept on giving as Trip is producing a show five nights a week in Los Angeles. Brooke, after a hiatus, has finished her next book. Everything seems fine until she shares it is a memoir. Tensions brew while intentions and secrets are revealed.
There are references to 9/11, and with that, he said/she said arguments regarding left and right politics. Artistic director Sean Murray directs this piece with a wonderful trace as the actors move from one corner to the next, making it dynamic because the piece is wordy. It could have benefited from some shorter lines, but Murray made it work. The thing with these characters is that when all the junk comes out, they seem relatable. How do we care for our parents, siblings, and even children at an adult age?
Sign me up for whatever Rosina Reynolds is in. Her delivery as the conservative yet hurting Polly is masterful, from the glances to Murray’s blocking to the interaction with each character while holding an on-point intonation. Alan Rust’s voice is deep and moves every fiber while also displaying Lyman’s frailty. As the siblings, Melanie Lora Meltzer and Geoffrey Ulysses Geissinger ping-pong many of the dialogues, displaying good physicality. Meltzer showed clear, stern intention. Geissinger also plays as the axis with the family, mixing in some sense. Debra Wanger brought both comedic release and tension, which made for a meaty stage contrast that shared moments with each character.
Andrew Hull’s scenic design of the Palm Springs home holds earthy tones in a clean, clear setting and a spectacular view of the desert, marvelously complemented by Joshua Heming’s lighting that shaped beautiful shadows, sunsets, and frames. When a play has movement but also activity while the dialogues are going on, it makes it more dynamic for the spectator. Heather Larsen’s props significantly contributed, bringing play to the pressure points from one corner to the next. The costume design adds a layer to the character’s personality. Brooke Nicole Kesler played with that by having some characters stay with one or two changes; in contrast, others had playful variety with their mention included. Peter Herman’s makeup had a natural look, while George Ye’s sound grasped that home echo that happens indoors having that fourth wall feel like a fly in the wall or even a Hessel chamber seeing these characters unfold.
The theatre year has started a tad jumpy and thrilling. I do not know if theatre companies in San Diego communicate, but there is a dysfunctional white family theme going on that I am totally here for. I saw this the matinee of Superbowl Sunday, and it was a fantastic pre-game activity. These theatre companies are giving a solid good time at the theatre with vivid performances.
Other Desert Cities is currently playing until March 2. For information on ticket prices and performance times, please click here.
Keep in mind, enjoying the theatre doesn’t have to be expensive. There are always options to score great seats at a price that fits your budget.
