‘Bullet’ Draws Accurate Bead on Pop Music Biz

Life on the road for the band called Naked Lunch has been sex, drugs and rock-bottom room rates. But suddenly the five guys sharing a hotel room learn that their latest single entered the charts at No. 6--”with a bullet.” Its projection is carrying them to the top. Move over, Megadeth!

That’s the bad news in Jeff Cazanov’s gritty, giddy flip side to “This Is Spinal Tap.” While that cult movie parodied a low-IQ, pretentious band, “With a Bullet” at the Friends and Artists Theatre Ensemble realistically portrays committed artists dedicated to creating alternative rock music. It’s an affectionate, insightful, authentic “day in the life of” story stating its serious insights with humor, pathos and session-tight ensemble playing, conducted with symphonic subtlety by director Clay Wilcox.

To Cazanov’s band, “breaking through” means making art, not “making it.” As one of them says, “This popularity is proof we did something wrong.” They believe that music is as important as one of the basic food groups--hence the name.

“I get my best inspiration from nonsense,” solemnly explains lyricist Richard (an inspired Paul Skemp) about the creative process borrowed from novelist William S. Burroughs.

The play’s central conflict concerns Jay (a brooding Tom Romero), the band’s old pro, who wants out before fame traps him. Dude (a seething Jose Payo), the stressed-to-the-max manager, isn’t about to let Jay undermine their big break. Lead singer Todd (an impressive Matt Kirkwood) furiously defends their right to glory. “All I want to do is play,” Todd declares, but in his total identification with the rock star mythos lie omens of premature death.

Cazanov’s best touches occur with unique twists on stereotypes, such as a hilarious wanna-be rocker (an excellent Dennis Moynahan) and a poignant groupie (Donya Giannotta, heart breaking while disintegrating in front of her idol). Obviously, this playwright knows the pop music business from the inside out.

*”With a Bullet,” Friends and Artists Theatre Ensemble, 1761 N. Vermont Ave., Hollywood. Fridays-Saturdays, 8 p.m.; Sundays, 7 p.m. Ends July 31. $15. (213) 664-0680. Running time: 2 hours.

Emotional Murder in ‘Blood Moon’

What happens when victim turns victimizer? An intriguing question asked, then horrifically answered, in Nicholas Kazan’s provocative “Blood Moon.” At Hollywood’s Open Fist Theatre, rape’s psychological wounds are surgically removed from melodrama and exposed as emotional murder.

Enabling an audience to maintain clinical distance is the victim herself, Manya, who calmly describes her assault. First, we see her as a pre-med student out on the town with her uncle as chaperon. They arrive at the loft of her uncle’s best friend, Alan. After serving drinks, Alan conversationally stalks the innocent student. A predator driven by appetite, Alan must devour what he calls this “exquisite . . . fresh flower of spring.”

Blunt physical abuse is not enough. For Alan, rape must include psychological penetration. Conquest has to be total, abuse absolute.

Opening Act II, Manya announces, “I decided not to be a victim,” though she is fearful of “perpetuating this circle, this cycle of perversity.” She arranges a ritual menage a trois to psychically rape the men in a way they will never forget.

Nor can the audience, thanks to an uncompromising approach by director Royston Thomas. Kathy Dunn’s transformation from innocence to vengeance is a triumph of technique. Marc Sandler’s repulsive rapist is a bit too monstrous and inhuman for the final coup de grace to achieve maximum impact, but his choices are impressively realized. Brian Muir is perfect as the irresponsible coward forced to confront his role in Manya’s abuse.

Sleepless in pain, the abused never forget. For Manya, the moon--the poet’s symbol of love--will always bleed.

*”Blood Moon,” Open Fist Theatre, 1625 N. La Brea, Hollywood. Thursdays-Saturdays, 8 p.m. Ends July 10. $15. (213) 882-6912. Running time: 2 hours.

‘Patty, Patty’: A Case of Inspired Silliness

The gangs who couldn’t shoot straight are back in town. Some of those Chicago kids who staged “The Real Live Brady Bunch” have joined forces with the Symbionese Liberation Army. On late Saturday nights, they’re merrily brainwashing an heiress at the Coast Playhouse in “Patty, Patty, Bang! Bang!”

But officials can’t say it’s a crime. Call this inspired silliness a kitschnaping . After all, blindfolded Princess Patty Kane (daughter of Citizen “Rosebud” Kane), the gang’s “hostage in a closet,” swoons when the SLA’s Cujo sings the Carpenters’ “Close to You.”

“This play is not art nor will it change your life,” warns director Tom Booker in Theatre-A-Go-Go!’s program notes. “Some of the dances are really stupid . . . We sometimes sing off key.”

So what? If there’s a point, it’s that 1970s television sitcoms had as much to do with counter-revolutionary politics as Karl and Groucho Marx. Parodies of “The Partridge Family,” chorus lines imitating the worst variety programs, and daytime soap satires deliver what the producers promise--”the pet rock of late shows.”

Don’t forget to wear your blindfold. You’ll find it in the program.

*”Patty, Patty, Bang! Bang!,” The Coast Playhouse, 8325 Santa Monica Blvd., West Hollywood. Saturdays, 10:30 p.m. Ends July 10. $8.95. (213) 883-9536. Running time: 1 hour, 30 minutes.

‘A Kiss’ Can’t Save Wanna-Be Fairy Tale

Craig Lucas’ “Prelude to a Kiss” premiered at South Coast Repertory, then was a successful Broadway play, then an unsuccessful film. For reasons that are depressingly obvious, the play has only now arrived in the heart of Los Angeles, at the Hudson Theatre.

A valiant commitment by a dedicated team can’t conceal the shallow gimmick motivating this wanna-be fairy tale. During a wedding party, a dying old man (a touching Douglas Stark) kisses the bride (an earnest Anne Hulegard). Behold! They exchange souls. On their honeymoon, the groom (Albie Selznick) is bewitched, bothered and stupefied.

Selznick, an original member of the gifted juggling troupe the Mums, is the soul truly trapped by this manipulative fable. His compelling stage presence can’t overcome the impossible task of transforming a symbol into a fully fleshed character.

What’s love got to do with “Prelude”? What’s the profound symbolism buried deep within? The old man’s exit line offers a hint: “Do yourselves a favor--floss.”

*”Prelude to a Kiss,” The Hudson Theatre, 6539 Santa Monica Blvd., Hollywood. Tonight, Saturday, 8 p.m. $16.50. (213) 660-8587. Running time: 2 hours.

No Escape From

Unsatisfying ‘Prisons’

Which came first, the actor or the playwright? This question perplexes the mind as one observes Drew Katzman performing in his “Little Prisons Big Escapes” at Theatre West. Which talent is Katzman hoping to showcase? Perhaps if he concentrated on a single form, these two comedies might be more satisfying. But when Katzman the playwright places Katzman the actor center stage, the theater becomes a big prison with no escape.

This is unfortunate, since the two secondary roles are handled by the exceptional Anne Haney. In “Little Prisons,” her vocal skills embellish a Pinteresque cartoon about a couple consumed by television commercials. In “Big Escapes,” Haney labors courageously as a secretary cornering a sexist boss into belated recognition of his evil corporate ways.

However, heavy-handed satires lacking irony do not reward refined talents like Haney’s.

*”Little Prisons Big Escapes,” Theatre West, 3333 Cahuenga Blvd., Los Angeles. Fridays-Saturdays, 8 p.m., Sundays, 7 p.m. Ends Aug . 1. $10-$15. (213) 851-7977. Running time: 2 hours.