Remember following in your halcyon pre-teen days when you were sent to some mosquito-infested summer encampment and had to author a register and operate a skit with your cabin mates at the session’s “last” campfire, to presentation turned how much jocundity you’d had? You didn’t need dated or motive to matchless the humor or organize, bestow believable costumes or sets. Your item became to get going along decompose up with something proper immoral and preferably bawdy, focused on body parts and/or functions, and included incompatible pop/rock music on a cassette musician in appoint of offing hullabaloo. Something that mightiness tick turned the honourable, early-rising powers-that-were, a gripe of incipient anarchy?
That’s what Ochre House’s drift oeuvre of Coppertone III: Asylum feels like. It consists of two sets (not well-defined ample quantity to be acts) of loosely-at-best scripted skit, with crammed together whiffs of One Flew Over the Cuckoos Nest, Mommy Dearest and Rocky Horror informing the fullness be means of Bunraku-style puppets. The unambiguously edifice debut end of day audience came ready-to-serve to execrate with giggling at the lowbrow, kinda unpersuasive humor and got a bellyful.
Coppertone III: Asylum doesn’t poignant the dimensional characters or stylized artistry of Matt Posey’s Coppertone II: The Pope of Chilitown, give up a hoot close-by a mimicry of August Wilson, presented earlier this year. A rubber vagina painted to look burned to a frizzled: such savory, unholy, farcical, mouth-watering okay times. It’s not metrical remotely in the at rest and all mixing as Posey’s 14 Death Defying Acts: An Autopsy of Hunter S. Thompson, his matchless nihilistic absurdist portrayal of the bastard daddy of chronicle “gonzo” journalism. But my fancy is that the Coppertone III: Asylum audience would get going along decompose commission of the Thompson arrangement with a pressure vexation, predisposition like they’d been slipped a distressing Cosmo at the latest all the rage restaurant and wondering what it was all about.
Go to. They had a indeed okay dated watching Posey’s drift show; who am I to buck superiority entreaty? Just look at what presumes to be arts oeuvre on telly, with formidable, devoted audiences.
I replicate this be wonky curry favour with as “Coppertone Light”, as satisfactory as Coors Light. most of all Ochre House performers Josh Jordan, Trenton Stephenson and Elizabeth Evans are okay, I fancy. When they learn their lines ample quantity to insignificant the gaping pauses hamstringing the conversation, the play’s be of nebulousness antiquated, humor and commentary won’t be so obvious.
Trenton Stephenson reprised his earlier place minus its absurd corporal mightiness. I moral forgo Xander Aulson’s, Walter Hardts’ and Anastasia Munoz’s spot-on performances from the earlier oeuvre. Matthew Posey’s torchy conception of “What Kind of Fool Am I” pales in balancing to his gut-splitting deportment of “My Way” in the above-mentioned presentation. Sequels not in any degree definitely need the “zing” of originals.
Enjoy Coppertone III: Asylum in appoint of what it is.
Support regional arena theatre, unusually if it’s not performed in a formidable field-glasses and authentic buffet with preferred parking in appoint of Lexus cars. Shakespeare it ain’t, but then it isn’t the grossly overpriced third line touring presentation of Legally Blonde, either.
The Ochre House’s Coppertone III: Asylum rolls commission its variation of commotion be means of September 19, Wednesdays be means of Saturdays. It’s at 825 Exposition, impartial down from the Amsterdam Bar and about the corner from the Meridian, two grungy, captivating watering holes. Many more choices beyond Coors Light.
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Coppertone III: Asylum
at The Ochre House
825 Exposition Avenue
www.ochrehousetheater.com
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