The Drunk

 ((The Chandler Studio Theatre: 35 seats; $ 12.50 top))

By JULIO MARTINEZ

The Chandler Studio Theatre Co. presents a play in two acts by Dailey Pike. Directed by Michael Holmes. Music director, Cengiz Yaltkaya; costumes, Don Nelson; guitar, Jim Crandall; percussion, Tom Winnick. Opened and reviewed July 13, runs until Aug. 17. Running time: one hour, 50 min.
 
Cast: Bonnie Kalisher (Mrs. Wilson), Sage Kirkpatrick (Marie), Dailey Pike (Kay Wallace), Addison Parker (Eddie), John Beckman (Mr. Blowit). Dailey Pike's very loose modern-day musical adaptation of that classic 19th century melodrama "The Drunkard" should never have been presented to a ticket-buying public. It is a thoroughly amateurish workshop presentation that, at best, can be considered a learning experience for everyone involved in its production. The most that can be said for Michael Holmes' direction is that none of the actors knocked down any scenery.
 

Set in present-day Hollywood, the plot revolves around villainous theatrical agent Kay Wallace (Pike) and his attempts to seduce the busty but naive actress-wannabe Marie (Sage Kirkpatrick) while simultaneously stealing the screenplay of Marie's alcohol-sensitive boyfriend, Eddie (Addison Parker). Complicating matters are the suspicions of Marie's showbiz-wise mother, Mrs. Wilson (Bonnie Kalisher), and the deadlines of cross-dressing film producer Mr. Blowit (John Beckman).

Pike is reasonably entertaining as the giggling cad as he warbles his ode to evildom, "It Ain't Easy Being Bad." And Beckman is at least credible as the harried film producer whose "Cross-Dressing Blues" is the highlight of the second act.

Kirkpatrick and Parker never exhibit the requisite stage presence and training to make their roles as the young lovers believable on any level. Further hindering their performances were their total inability to stay on pitch as they struggled through such simplistic three-chord ditties as "I Love That Girl" and "I'm Tired of Being Tired."

Kalisher's one-dimensional portrayal of Mrs. Wilson sounds more like a stage reading than a performance, although she fared much better when called upon to do a turn as a stand-up comic.

The musical support of keyboardist Cengiz Yaltkaya and percussionist Tom Winnick was adequate if unimaginative. The acoustic guitar work of Jim Crandall had its own intonation problems and tended to disappear whenever Yaltkaya cranked up his amplified keyboard.

The uncredited set and lighting designs deserve to be.