6-11-JR-D-DOG

Those who remember the family TV shows of the 1950’s and 1960’s will immediately recognize the character of Mrs. Rogers, the mother; a loving, attentive, doting caretaker of her two young children. She’s picture perfect in her dress, immaculate hair and perfect housekeeping and is completely devoted and revering to her husband. OK, maybe revering is a bit much, but the family in this play is yanked right out of the sitcoms of that era and plunked somewhere in a time where things are a bit different from what we know now. The father, Mr. Rogers, who works for The Corporation, is a cross between Robert Young of Father Knows Best and Darren of Bewitched and the two kids (age 7) are just too, too adorable to be real. Remember Jodi Foster and Ronnie Howard when they were kids? They’re back only more syrupy than ever.	Nina Silver - Guy Birthwhistle - Michael Scott Allen Taylor Coffman -
We’ve always maintained that real theatre happens in the little houses – like the Studio/Stage where this little gem is playing. Don’t think we’re knocking the Ahmanson or the Taper or the other “big” theatres, but what these people are doing here in this little black box literally sends goose bumps up and down your spine. You suspect from the start that this world is too good to be true – and when Mother reminds everyone to take their little “yellow pill” before they start their day you begin to deduce that the handwriting on the wall may soon turn to unintelligible scrawls.
Michael Scott Allen - Nina Silver - Taylor Coffman	In their home schooling by their mother, the children learn about a great war that destroyed everything and they are told the Corporation has helped to save everyone and protect them from all things evil. The Conservation Corporation seems to control everything – and we never really find out what they are conserving. Metaphors abound in this play, and certainly the Corporation is the most obvious as one can readily identify its sinister reach. Some would say it’s a totalitarian government – others would say it’s our current regime. Still others might think its Halliburton on steroids.
The escalation in the story is brilliantly executed. It starts with the little pills - then the mother has to take another pill – a blue one this time one because she has some terrible pains that almost immobilize her. Once the blue pill is popped she’s Donna Reed again. When the children play, Jane has a few hissy fits now and then – nothing that another yellow pill won’t take care of right away, however. And when Mr. Rogers gets mysterious, muffled, raspy phone calls and starts sweating, you know it’s not Avon calling. When visitors drop in on Mr. Rogers you are reminded of the old film The Time Machine which starred Rod Taylor and Yvette Mimieux. That film had the Morlocks, horrific creatures that roamed the night; this show has two ghoulish visitors who live above ground and are equally chilling. There are so many questions that one comes up with during the play, like “Why do they have a radiation lamp to sun themselves daily?” “Why are the children always inside the house?” “Why doesn’t the mother ever go out nor have friends come over?” “Why do they always eat the same thing in the exact same routine?” “Why did the father bring the children a forbidden book?”
That last one is the kicker. The Golden Book of Animals reveals a world that fascinates the children. Its pages are filled with images of extinct animals and the kids revel over the pictures and the descriptions. “A is for ants!” they squeal – “B is for Bear” and Dick stands on a chair growling like a bear. “D is for Dog!” Little Jane shouts excitedly as projected images of dogs surround them. The father makes shadow puppets on the wall and the children are mesmerized by their new discovery. The book comes at a high price, however and soon the comic laugh fest that started so boisterously begins to fade and the bright bouncy little home starts to tinge darker as you learn the truth about these people and why they are there. The plot is well thought out and the execution is near perfect with a cast that sizzles. Author Katie Polebaum based the play on a story by Director Sean T. Cawelti and turns it into a cautionary tale where the final scenes are downright terrifying.	Michael Scott Allen - Guy Birthwhistle - Taylor Coffman
Nina Silver is terrific in the role of Mrs. Rogers. Her plastic smile and perfect demeanor make you wonder if she is made with animatronics and she anchors the family with a sweet disposition that goes beyond devotion. Silver has the uncanny talent to foretell horrific events with a mere twist of the mouth or a discreet gesture. By contrast Taylor Coffman is perfectly over the top as the precocious seven year old Jane – a little self centered and spoiled but desperately wanting to be like Mommy. Her brother Dick is a bit more analytical and Michael Scott Allen makes him a wonderful counterpart to Jane looking exactly like a little nerd in progress. We totally buy into Mr. Rogers character, in the exceptional portrait etched by Guy Birthwhistle. We believe he loves his family and will do anything to protect them from the Corporation and while he tries to maintain an air of confidence in the face of doom, the terror engulfing him is very evident in his face. There are two horrifying puppets created by a bevy of designers which include Kristopher Lee Bicknell, Sean T. Cawelti, R. Gwyneth Conaway Bennison, Matthew G. Hill, Jennifer Owings, Tyler Stamets, Miles Tabert and Megan Wallace. The life size puppets were skillfully manipulated by Heidi Hilliker and Benjamin Messmer. There is a dog in the story – which symbolizes the struggle they face and foreshadows their future . . . and maybe ours?
In an era where sci-fi thrillers are created with CGI, it’s refreshing to see that imagination and creativity can still trump computers in presenting a narrative that has a compelling story, a gripping plot, exceptional acting and a message that leaves you thinking. This one is a real winner on all levels. Presented by the Rogue Artists Ensemble at Studio/Stage – 520 North Western Ave, Los Angeles, CA 90004-2606. Runs through August 7, 2011. Tickets at 213-596-9468. tickets@rogueartists.org Website www.rogueartists.org . Comments? Write to us at: Letters@ReviewPlays.Com Top Pick