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Hell's Kitchen Ablaze
((Hudson BackStage Theatre, Hollywood; 99 seats; $ 15 top))
Det. Gino Espuchiano ... Marc Alaimo Det. Carmine Camagitello ... David Proval
Det. Lawrence (Dash)
Freeman ... Gerald James
Det. Marian L'Arena ... Sal Landi
Ruby ... Tina Preston
Det. Bossano Hemed ... Talbot Perry Simons
Det. Stromboni Fontagredda ... George Simonelli
Det. Michael Mishkeno ... Ronald Hunter
Det. Geoffrey White ... Robert Lamar Kemp
Fawn ... Dena Lesser
Eight crooked cops sit in a Hell's Kitchen warehouse, waiting for their payoff from a cocaine deal. They are part of "la famiglia," a loose association of corrupt detectives that is often referred to but never really explained.
As the evening progresses, this collection of cartoonish characters scream, curse, embrace and generally flounce about the stage for little apparent reason. Racial hatred, sexual insecurity, ethnic pride and the cult of the police detective all seem to have something to do with the angst of this bunch, but nothing is ever made clear.
Characters like Stromboni Fontagredda (George Simonelli), Bossano Hemed (Talbot Perry Simons) and Marian L'Arena (Sal Landi) mill about, occasionally exploding angrily with for no apparent reason.
Deeper questions about the relationships between these men are never addressed, and audience is left to idly wonder how many Gotham detectives have first names like Stromboni, Bossano or Marian.
In between the extended outbursts of obscenities, some of the characters break off into a kind of Italian-American jargon. While the actors struggle valiantly to wrap their mouths around the words, their sense is utterly lost.
Thankfully, one character, detective Carmine Camagitello (David Proval) points out that all this Italian is simply nonsense. Unfortunately, he could say the same thing about the play.
The play had a previous outing at the Mark Taper Forum's New Work Festival. What may have begun as a promising script in a play reading has been transformed into a pointless muddle, apparently by the playwright and by the flat, lifeless direction of Ron Max.
Only Proval seems to have found any dramatic edge or texture in his character.
However, the simple, open arena of the new Hudson BackStage is a promising space for plays.
Sets, lighting, Robert W. Zentis; music, Don Preston; costumes, Theresa Inman. Reviewed Aug. 14, 1992.
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