Two Gay-Themed One-Acts Look at Universal Issues

The two one-acts written and directed by Robert Patrick at Theatre/Theater are examples of a significant evolution in gay-themed plays: In both “Pouf Positive” and “Bread Alone,” homosexuality becomes a context rather than a focus.

Patrick takes the sexual orientation of his characters as a given, and looks beyond it to universal issues--the fear of death and the need for love, respectively.

As Robin, the frail but unrepentant homosexual dying of AIDS in “Pouf Positive,” Edmond Ramage delivers a searing portrait of a man with no future who keeps himself alive with caustic, flamboyant wit. (Surveying the prospect of “a world without fairies,” he predicts, “whole strains of ferns and poodles will die out.”) As Robin’s defenses break down during a phone conversation with an old lover, his personal odyssey aches with resonance for a generation that never had to confront its own mortality. “Did we all think we were just going into reruns?” he wonders.

The more upbeat “Bread Alone” offers a wry twist on the teen-age-crush-on-the-teacher formula--in a remote uranium mining town, a young aspiring poet (George Sheldon) makes comically awkward advances toward the new grade-school instructor (Allan Gassman) who seems so worldly and sophisticated (for Montana, at least).

Gassman’s nicely rendered attempts to gently discourage the boy sometimes clash with Sheldon’s exaggerated mood swings, but the emptiness that draws two lonely people together is tangible. While the resolution is sincerely played, however, the piece ends on troubling notes of unreal wish fulfillment in Sheldon’s sudden clear-sighted eloquence and violation of the teacher’s responsibilities as a mentor.

* “Bread Alone & Pouf Positive,” Theatre/Theater, 1715 Cahuenga Blvd., Hollywood. Fridays-Saturdays, 8 and 10 p.m.; Sun., 7 p.m. Ends Oct. 2. $10. (213) 660-1180. Running time: 1 hour, 35 minutes.

Spirited ‘Stoops’ by La Canada Players

As Restoration comedies go, “She Stoops to Conquer” still reigns as the one with the most enduring appeal, due in large part to the particularly contemporary feel in playwright Oliver Goldsmith’s sly upending of the stuffy conventions and hypocrisies of his ruling class.

Jude Lucas’ staging for the La Canada Players at Basement Theatre retains the play’s bright irreverence and playful spirit--and its late 1700s period setting as well, despite the production’s obvious budgetary restrictions.

As one of the alternating actresses in the title role of an aristocrat who poses as a barmaid to win the affections of her indifferent partner in an arranged marriage, Consuelo Aduviso buoyed the reviewed performance with versatility (going from refined propriety to flirty abandon) and sparkle. It’s no surprise that her charms reduce her bewildered paramour (Doug Rynerson, as an appealing if clueless narcissist) to helpless devotion, and teach him a lesson about social stature and romantic illusion along the way.

While some supporting performances stoop to overly broad caricature (Rick Warren as a mugging prankster is the worst offender), brisk pacing and abundant physical comedy sustain the momentum. The main limitations are imposed by a plot formula that dictates an ultimate return to a particularly smug and inflexible social status quo.

* “She Stoops to Conquer,” Basement Theatre, 464 E. Walnut, Pasadena. Thursdays-Saturdays, 8 p.m.; Sun., 2 p.m. Ends Sept. 24. $8-$12. (818) 799-1171. Running time: 2 hours, 30 minutes.

Promising Outing by Groundling Trainees

“Starsky and Company,” an evening of skits and improv, spotlights the talents of the Groundlings’ Sunday-night team of eager trainees waiting to fill the shoes of regular troupe members who move on to become Groundhogs, or whatever.

Which isn’t to suggest that these Groundling heirs-apparent are mere minor leaguers--their comic range is impressive, and there’s an engaging freewheeling riskiness in Melanie Graham’s direction.

Still, “Starsky and Company” lacks some of the tight scripting and polished delivery of the main Friday/Saturday shows. In general, the Sunday lineup relies more heavily on sight gags, single-note premises, and punch lines than the nuanced character-based humor of the more mature Groundlings, but the frequent comic bull’s-eyes point to a healthy future for the franchise as these promising performers come of age.

* “Starsky and Company,” Groundlings Theatre, 7307 Melrose Ave., West Hollywood. Sun., 7:30 p.m. Runs indefinitely. $12. (213) 934-9700. Running time: 2 hours, 15 minutes.