CAST: David
Haydn-Jones and Bronson Picket (Bud Rex), Jeff Kerr McGivney
and Michael B. Silver (Jerry Tondino), Moira Squier (April
Pyle), Tara Orr and Corie Vickers (Maxine Carpenter and Agent
Mann), Beth Anne Garrison (Diana Sheridan), Alex
Fatovich and Elizabeth Navarro (Emily Adams, Delivery Girl,
Agent Mata, Cara) Elizabeth O'Brick (Understudy - Diana
Sheridan).
CREW: Jon Cellini (Playwright),
Stuart Rogers (Director), David Kronmiller and Scott Donovan
(Assistant Directors), Jarrod Crawford (Stage Manager),
Jeff McLaughlin (Set Designer), Luke Moyer (Lighting Designer),
David Kronmiller (Sound Designer), David Elzer (Publicist),
Doug Lowry (Technical Director), Sara Shapley (Graphic
Designer),
Woody Schultz (House Manager).
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7/29/05
LA Times (Critic's Choice)
By David C. Nichols, Special to The Times
A keen look
at the politics of morality
Jon Cellini's study of a paragon congressman and the intern who inverts him
receives a compelling Theatre Tribe premiere.
"Can anyone be completely virtuous
and rational?" That is one of many questions posed by "The
Intern." Jon Cellini's study of a paragon congressman and the
intern who inverts him receives a compelling Theatre Tribe premiere.
The protagonist, Bud Rex (David Haydn-Jones,
alternating with Bronson Picket), is a rising political star of presidential
caliber, thanks to handler Jerry Tondino (Jeff Kerr McGivney, who alternates
with Michael B. Silver). Enter Diana Sheridan (Beth Anne Garrison), the
Spinoza-spouting title character, to test Bud's self-possessed integrity
and Jerry's campaign strategy. A Sacramento morality play develops.
Despite his charged dialogue and irreverent
humor, Cellini isn't after political melodrama here. The crisscrossing
timeframe, grounded by reporter Maxine Carpenter (Tara Orr, sharing the
role with Corie Vickers), who quizzes Bud about Diana's disappearance,
lets past interface with present on Jeff McLaughlin's stairs-to-nowhere
set. Though Act 1 ends with disclosure, the intrigue holds. In Act 2,
as Bud's devoted assistant April Pyle (Moira Squier) endures federal
agents, Cellini shifts focus to her. This proves an inspired move, leading
to a disturbing climax and a bitterly ironic fade-out.
Ace director Stuart Rogers oversees wholly
serviceable designs, especially Luke Moyer's vital lighting, and his
terrific cast commits to Cellini's tragicomedy of ethics. Haydn-Jones
finds the human marrow inside Bud's charisma, riveting against Garrison's
incisive Diana. McGivney gives Jerry stunning, vulgar power. As Maxine,
the arresting Orr keeps us guessing. Elizabeth Navarro (trading off with
Alex Fatovich) tosses off various characters. Squier's starchy April
quietly walks off with the show.
The performances counter any odd
cosmetic quibbles. Some quips and self-comments are extraneous; the
never-seen wives and Maxine's final scene need more definition. Yet,
as populist theater goes, "The Intern" is gripping, original
and hauntingly effective.
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7/29/05
LA Weekly (Recommended)
By Steven Leigh Morris
In this era of harpoon politics, Jon Cellini’s
new morality play — a stage amalgam of The Candidate and Fatal
Attraction — may or may not infuriate Dems with its implication
that politicians with socially conscious principles can be just as
thuggish as any Roveian warrior. While running for a Senate seat,
Bud Rex (David Haydn Jones) falls for his smart, sassy intern (Beth
Anne Garrison), who, when the political heat starts to rise, won’t
go away. Until she really goes away, and the FBI starts investigating.
The tension comes from watching Bud squirm while we figure out what
he knows, and what he doesn’t, about the young woman’s
disappearance. Across this well-trod turf, Stuart Rogers’ direction
of a captivating ensemble makes Cellini’s theme (about how
in politics the law of convenience supersedes the rule of law) seem
almost fresh.
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8/5/05
LA Weekly (Follow up
article)
By Steven Leigh Morris
The Spinoza/Nietzsche-spouting
intern, Diana Sheridan (Beth Anne Garrison), in Jon Cellini’s
new play, The Intern, aligns herself philosophically with
Brits G.B. Shaw, Bertrand Russell and possibly Ünel’s
Evelyn in believing that marriage is just a glorified birdcage, society’s
biggest marketing ploy to secure the ruling clans’ lines of
ascendancy. When Diana aggressively seduces Bud Rex (David Haydn
Jones) — a California congressman who’s running for a
U.S. Senate seat — neither of them is thinking of Bud’s
wife, or of her reluctant place in this newfound ménage. Rather,
Diana and Bud are unleashing their beasts within, while damning the
torpedoes. One torpedo comes in the form of Bud’s campaign
manager, Jerry Tondino (Jeff Kerr McGivney), a Mephistopheles who
argues, predictably, that Bud’s infidelity is political folly.
Bud tries politely to bow out of the torrid affair with as much chivalry
as a good-hearted liberal democrat can muster, but Diana isn’t
buying. Rather, being in her 20s, she keeps referring to destiny.
Bud, however, knows exactly what his destiny will be if people ever
learn about Diana’s panties strewn under his desk. Faster than
you can say Fatal Attraction, Diana disappears — which
is where Cellini’s morality play really begins.
Cellini frames the mystery through the
investigation of an FBI agent posing as a green journalist (Tara Orr).
The fascination to this well-trod story comes largely from the rich
acting chemistry in Stuart Rogers’ simple and straightforward production
(which also has two casts — realism unencumbered with too many
props, or too much furniture. Rather, Jeff McLaughlin’s set of
gray and black platforms suggests one of those M.C. Escher graphics,
with staircases that seem to lead nowhere in particular, perfectly encompassing
the play’s Shakespearean idea of vaulting ambition, and ascent-as-mirage.
As the journalist, Orr has a sweet,
dimpled smile and crosses her legs ever so strategically, mocking Bud’s
obvious, erotic vulnerabilities. Garrison brings an appealing emotional
intelligence to her siren’s body heat; Jones’ handsome,
morally shredded congressman becomes such a dither of mixed emotions,
he’s almost enough to make you vote Republican. Moira Squier
turns in a beautifully dry turn as Bud’s ferociously principled
secretary — a one-woman Greek chorus, watching her employer with
stoic concern. Talk about familiarity breeding contempt.
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7/27/05
Tolucan Times
By Trish Ostroski
'The Intern'
Packs a Political Punch at Theatre Tribe
Theatre Tribe has made a strong selection in staging Jon Cellini’s “The
Intern” as its first world premiere. Cellini’s script is a fascinating
morality tale staged in the world of politics. Stuart Roger’s expert
direction brings out the best in the cast stirring a number of great moments
especially when the dialog addresses morals and political idealism. The entire
cast seems real in their roles.
A young female intern turns up missing
while a golden boy California congressman, Bud Rex, with his eye on higher
political office, must cope with the knowledge of his personal involvement.
The politician caught between his idealism and political ambitions, needs
to grab hold of his moral compass. But will he?
Theatre Tribe’s stage is a small
one, but this play is effectively blocked on a layered stage and
kudos to the actors for the fitness and light footage that pulls it
all off as they move thru these steps and levels. It might even be
a metaphor for the steps and levels one needs to examine when aligning
a moral compass on course.
Produced in a flashback manner
with effective freezes, the politician’s (David Haydn-Jones)
memories of the intern (Beth Anne Garrison) are churned via an interview
with a first time reporter. His confrontations with his ambitious yet
flawed handler (Jeff Kerr McGivney) and his tailored and direct personal
secretary (Moira Squier) are among the play’s finest moments.
Cellini’s writing is strong and memorable and laced with touches
of irony, humor and reality.
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7/28/05
BackStage West
Excerpts from Les Spindle's Review
"Director Stuart Rogers and an
impressive ensemble...pull off an engaging two hours."
"Haydn-Jones convincingly portrays
the conflicted protagonist, as Rex's golden-boy charisma melts into
guilt-ridden paranoia. Garrison is electrifying as the vixen, weaving
her manipulative web under the guise of New-Age philosophy. Moira Squier
shines in what initially seems an insignificant role as Rex's no-nonsense
secretary; she ultimately provides the moral center..."
"As Rex's scumbag campaign manager,
Michael B. Silver is deliciously creepy, nailing splendid sardonic
barbs. Alex Fatovich excels in multiple walk-on roles."
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