C4 THEATER REVIEW


S


KLMNO


MONDAY, SEPTEMBER 20, 2010


‘Lone Star:’ One well-tangled web


tv previewfrom C1


the series will have to turn up the heat on its more soapy storylines and aspects, which will rub away some of its more gentle touches. When that day comes, “Lone


Star” may well begin to resemble that ratings juggernaut from an- other era, “Dallas,” to which everyone compared it during the pre-season buzz. Right now “Lone Star” is its own lovely mini- movie. James Wolk is Robert (a.k.a. Bob), a young man raised by a professional grifter (David Keith). Now in his 20s, Robert/ Bob is working two major scams with Dad — selling fake oil well shares in the West Texas town of Midland, and also worming his way into one of the state’s mighty family-owned oil companies 500 miles away in Houston. In Midland, Robert (or is it


PHOTOS BY COLIN HOVDE REAL TROUPERS: Gia Mora and Natascia Diaz are among the bright lights in the production, based on a 1922 novel by Edith Wharton.


‘Glimpses of the Moon’: Less than stellar MetroStage musical


is a modest success, but the sky was the limit


by Nelson Pressley


If you view the new Jazz Age musical “Glimpses of the Moon” as a fizzy little lark for Alexan- dria’s MetroStage, it’s possible to consider this show as modest, tuneful and amusing. If, on the other hand, you’re watching and wondering whether this might develop into something bigger, it seems as mixed-up as its opportu- nistic leading characters. “Glimpses” is based on Edith


Wharton’s 1922 novel about Susy, a poor young woman with cham- pagne taste. Susy hatches a scheme to marry a similarly cash- strapped lad named Nick, reason- ing that their rich friends will


shower them with lavish presents they can quietly hock. Susy and Nick intend to live quite grandly for at least a year on the cash, plus the favors extended to new- lyweds.


Complications ensue, of course — true love, ethics, all that. It’s a promising setup for an old-fash- ioned musical comedy, which seems like what “Glimpses” wants to be. (The show was origi- nally commissioned for the Oak Room at Manhattan’s Algonquin Hotel, which probably explains the second-act cameo for an ele- gant cabaret singer.) John Mercu- rio’s music is generally peppy and the book and lyrics by Tajlei Levis are often cute, so “Glimpses” shapes up as an undemanding entertainment. But Mercurio and Levis haven’t


firmly decided how much they want to camp things up. When the company performs the long, boisterous opening number, sing-


Bob?) has fallen in love with sweet Lindsay (Eloise Mumford). He’s moved into her pretty yellow bungalow and is about to pro- pose marriage. He’s also sold her family and their friends what they think are shares in a profit- able oil lease. It’s a scam. In Houston, Bob (or is it Rob-


SCENE STEALER: Lauren “Coco” Cohn gets plenty of laughs as the lusty Coral Hicks.


ADVANCE MOVIE SCREENING


Enter for a chance to win passes to September 27 screening of


ing about carefree attitudes and flush times, it’s spirited but sorta sincere. When, on the other hand, Lauren “Coco” Cohn shimmies in as Coral, a homely nebbish whose desire for Nick makes her lips tremble like Jell-O during an earthquake, the shtick begins to hit the fan, and how. Make no mistake, Cohn’s terrif-


ic at what she does, generating laughs as an aggressively lusty, comically unlikely second ba- nana. But the tone suddenly goes brittle, and the mood truly breaks with the evolution of a character named Streffy, a swell whose low flame for Susy becomes an in- ferno once he inherits real mon- ey.


Streffy’s preposterous transfor-


mation occurs during the second- act opener, “Terrible News.” Word arrives of a regatta tragedy with fatalities that leave Streffy stink- ing rich. As Streffy, Matthew A. Anderson is compelled to morph from a lovelorn twit to a dancing Dr. Evil — less a newly minted earl (the title that comes with the sudden treasure) than Voldemor- tean dark lord, with poor Susy in his sights. Meanwhile, the romantic sparks between Susy and Nick are left untended, though it’s


Glimpses of the Moon, book and lyrics by Tajlei Levis, music by John Mercurio. Directed and


choreographed by David Marquez. Music director, Darius Smith; set, Daniel Pinha; costumes, Lisa Zinni; lights, Andrew F. Griffin; sound design, Steve Baena. With Lori Williams, Tracy McMullan and Roz White alternating as the Cabaret Singer. About two hours. Through Oct. 17 at MetroStage, 1201 North Royal St., Alexandria. Call 800-494-8497 visit www. boxofficetickets.com.


hardly the fault of Natascia Diaz — who supplies a formidable shot of star wattage as Susy — or Sam Ludwig, who can’t possibly be in- spiring when his character, a clas- sics scholar, is so stiff and smug. The plus side of the ledger isn’t entirely bare; director-choreogra- pher David Marquez’s aggressive- ly energetic show really does glow now and then. Take Diaz, for starters, driving a big upbeat number at the end of the first act, or wistfully contemplating moral symbolism in a song called “Ci- gars.” (In a good local installment of “The show must go on,” Diaz and Cohn both took on their roles a little more than a week before opening.) Or take Stephen F. Schmidt as a suave but naive mil- lionaire, reveling in a Rat Pack torch song, even if it suffers from a grossly cliched ending. Gia Mo- ra consistently performs with the effervescence of a champagne bubble as the millionaire’s sneaky, sexy wife, and she seems to adore her slinky, shimmering costumes. Take the music, too, played by


an efficient three-piece jazz com- bo onstage. The score is often dis- appointingly generic — too Broadway, at the top of its lungs — yet from time to time it actu- ally achieves the speed and se- ductiveness of the era. Glimpses indeed.


style@washpost.com Pressley is a freelance writer.


ert?) is married to Cat (Adrianne Palicki), the only daughter of oil baron Clint Thatcher, played by a glowering Jon Voight. Till now, Bob/Rob has been fronting as a traveling salesman of oil leases; Cat married him because of his independence. But Clint senses an opportunity to promote his son-in-law.


Over a family brunch, Clint an- nounces that he wants Rob/Bob to assume an executive role, to the chagrin of his sons (Mark Delkin as resentful Tram; Bryce Johnson as dopey Drew). “Bob’s been gettin’ it done and we ha- ven’t,” Clint grumbles. “Seems like a no-brainer to me.” Later, at a cocktail party among Houston swells (“She’s 80 percent silicone and 20 percent Merlot,” Cat observes, giving Rob/Bob the rundown of the guest list), Clint menacingly re- minds Rob/Bob that he can spot an empty hat a mile away: “I’ve seen more than one, but none that ever get away with it. Not even my brother, Roy, may the sum’bitch rest in peace.” So it’s an oil story? Actually it’s


a love story wrapped around one of those shaggy sagas of a liar on whose precarious behalf we sweat nervously. Rob/Bob is hopelessly, dangerously devoted to both women and to both of his lives — switching wallets and cellphones in airport parking lots, bedding his wife in a McMansion here and then flying “home” to his simpler life over there, where nothing makes him happier than to mow the front


yard. (One can only imagine what sort of miles Rob/Bob is racking up on Southwest.) It’s good to see Keith again as Rob/Bob’s nagging and malevo- lent father, who urges him to get out of Midland, now that the pho- ny oil lease scam is about to break open. “What have I taught you?” Dad asks. “You play any character you want, but you never play yourself.”


But Rob/Bob, who is sick of liv- ing his life on the run, has an- other idea: going legit in his exec- utive oil job and making the Mid- land deal right, at least on a balance sheet. He even offers his father gainful employment. Dad scoffs. “This is about mo-


vin’ to an island full of topless women,” he says. “Not about dragging my ass to a cubicle ev- ery day.” Thus, in a convenience store parking lot in the middle of the night, we witness a crack in Rob/ Bob’s cool collectedness. He pounds the steering wheel of his car and fights back tears. None of it would seem believ- able without Wolk’s earnest work as Rob/Bob. With so many of this season’s shows built around ac- tors we’re all too familiar with, it’s a rare thing to see a young actor take on the burden of carrying a series that depends mostly on his nuance. When in doubt, Wolk sometimes affects a George Cloo- ney-esque bobblehead, but he is as charming as Clooney, too, which is crucial to his cons, com- mercial and romantic. Watching “Lone Star” it’s diffi-


cult to pinpoint my anxiety: Am I worried that Rob/Bob will be found out, or am I worried that the show will quickly run out of ways to stave off the plausibility problem? In the age of search en- gines, who on Google Earthcould possibly sustain a double life that involves banks, checks, land leas- es and airplane tickets? We shall see. What I like most about “Lone Star” is its script, written by the show’s executive producer, Kyle Killen, and its “Up in the Air”-like regard (speaking of Clooney) for the carry-on, fre- quent-flier routines of the lone- some, modern-day hombre. The interstitial stuff in Mon-


day’s episode — the artfully shot baggage carousels; the forlorn soundtrack choices supplied by indie rock bands such as Cold War Kids or Mumford & Sons — will unfortunately be the first things jettisoned if and when “Lone Star’s” ratings flag. I hope sneaky Rob/Bob has a plan to avoid that.


stueverh@washpost.com


Lone Star (one hour) debuts Monday at 9 p.m. on Fox.


BILL MATLOCK/FOX


BIG DECEPTION: Jon Voight, left, plays an oil tycoon whose son-in-law, played by James Wolk, right, is not what he seems.


Adapted from a recent online discussion:


To enter, go to washingtonpost.com/postpoints and click on Events & Contests by September 22.


OPENS IN THEATERS OCTOBER 1


Dear Carolyn: We know two couples who are invited to several parties each year, yet they’ve never once hosted a party or in any other way reciprocated for friends who invite them. I told my wife that we shouldn’t bother with them anymore —we have several other friends who understand basic etiquette (I think my 5-year-old understands etiquette better than these couples). My wife insists they’re very nice people, and that we don’t want to offend anyone. I responded that I’m offended when someone thinks they can mooch off other people indefinitely.


My question is to the audience: If


you are an offender of this type of etiquette breach, please tell me why? Why can’t you find some way to reciprocate from the dozens of invitations you’ve received from friends (a casual dinner at your home, a dinner at a restaurant, etc.)?


Va.


No purchase necessary. This sweepstakes is open to legal residents of the District of Columbia, Mary- land, and Virginia. Entrants must be 18 years of age or older and must be registered members of PostPoints. Employees of The Washington Post, their affiliates, and those with whom such employees are domiciled, are not eligible. Void where prohibited by law. Sweepstakes subject to all federal, state and local laws. To enter log on to washingtonpost.com/postpoints (click ‘events & contests’) by 9/22. Limit one entry submission per member. Winners will be notified of exact theater location by email.


E10-493 2x10.5 Here’s a scenario for you: Let’s


say they aren’t in a position to host —small or torn-up or somehow embarrassing home; not enough money to pick up the tab for others at restaurants; totally


‘Mooching’ couple may have their reasons CAROLYN HAX


overwhelmed by life for some reason (sick, or raising many children, or caring for a sick relative or special-needs child, tough stretch at work, whatever). Say they just don’t want to entertain right now. Now let’s say you’re one of their group of friends, who keep inviting them out or inviting them over, even though they’re deep in social debt. Do they say no to your parties and dinner invitations? Presumably you want them there, or you wouldn’t have asked — so is it the friendly thing to say yes, or the friendly thing to say no? This isn’t an excuse, necessarily


—they should do something for others eventually, or at least acknowledge and explain their deadbeatedness in some way — but I offer this scenario to show that it isn’t as black-and-white — “These people have no manners” —as you say. Would you have them say to your invitations, “I’m afraid I can’t reciprocate; do you


still want me there?” Would you say no, the invitation is withdrawn? Since you have parties because you presumably enjoy having parties, and since your parties presumably are about companionship and not a quid pro quo, I would suggest trying out the view through your wife’s eyes: Do you enjoy these two couples enough to want them around, just for the sake of it? It takes the emotion out of the issue, reduces it to a neat yes/no question.


Re: Reciprocating: Why do people waste precious


energy hating “moocher deadbeats”? If you keep inviting them and creating more hate inside your body every time you do —whose fault is your anguish? Doc, it hurts every time I hit my head against the wall! Just stop inviting them if you think you’ve spent more money on them than


their friendship is worth to you. Anonymous


I get what you’re saying, but


Va.’s wife wants to keep including them.


Still, the answer is similar to


your “stop hitting your head against the wall” solution: Stop inviting them with the


Read the whole transcript or join the discussion live at


noon Fridays on www.washingtonpost. com/discussions.


Write to Tell Me About It, Style, 1150 15th St. NW, Washington, D.C. 20071, or tellme@washpost.com.


NICK GALIFIANAKIS FOR THE WASHINGTON POST


expectation that they’ll host you in return. Instead, invite them for the pleasure they bring your wife. Rationalizing does play a useful if narrow role in day-to-day peacekeeping. Tomorrow: A “moocher”


withdraws.

Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64