Hear, Hear: L.A. Theatre Works’ Plays Are Worth an Encore

L.A. Theatre Works, a nonprofit theater and radio production company, deserves a standing ovation for publishing consistently superb work.

Most people simply do not have the time or the opportunity to see the many plays written in the last year, let alone the past decade. L.A. Theatre Works has been producing and recording plays for 10 years, and offers an extensive catalog of a varied body of work. I have heard nothing but top-notch acting and production values in the several plays I sampled and the one recording I witnessed.

The plays are all about 90 minutes to two hours long. Most cost $18.95, and are available in stores or by calling (800) 708-8863.

Two recent productions include “How I Learned to Drive” by Paula Vogel and”Mizlansky / Zilinsky” by Jon Robin Baitz.

Vogel’s play takes a light look at a dark subject, focusing on L’il Bit, the daughter of a rural Maryland woman whose uncle taught her much more than simply how to drive. She writes of the psyche-scarring, incestuous relationship between the pre-pubescent main character and her grown-up uncle. Her straightforward honesty and unabashed humor offers a remarkably candid view of family dysfunction.

Glenne Headly, with her youthful-sounding voice, is perfectly cast as L’il Bit. She effortlessly portrays a confused little girl and an older, angrier woman. However, even as her character ages, that tremulous, girlish quality to Headly’s voice consistently enriches her performance.

One of the funniest plays I had never heard of is Jon Robin Baitz’s “Mizlansky / Zilinsky,” a hilarious sendup of Hollywood, greed and the IRS.

Former agents who left the Biz for the shady world of tax shelters, Mizlansky and Zilinsky are facing an imminent financial crisis with differing viewpoints, as one has developed a hideously frightening conscience. Baitz writes with a scathing sense of humor and a keen eye for detail. He balances inside Hollywood jokes with a touching poignancy and a deep understanding of human nature. Sharp details and a biting, sassy humor permeate the play, making this one recording you will want to hear repeatedly.

The cast was very well matched to the material, taking it to its humorous limits without overpowering it. Nathan Lane, with his scratchy voice and impeccable sense of timing, is a standout as the demanding, self-centered and most complicated Davis Mizlansky. Other intriguing voices include Paul Sand, Rob Morrow, Grant Shaud, Richard Masur, Julie Kavner and Harry Shearer.

The one problem with these productions is that the cast is listed on the packaging, but not the parts each actor portrays. The cast list is announced at the end of the play, but it would be most useful if it were printed on the box, so we would know who we are hearing as the story unfolds.

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If you are still in a California state of mind, tune into the more serious side of the City of Angels with “Sunset Stripped,” by M.D. Baer. (Other Audio; five cassettes; seven hours and 30 minutes; $30; read by Jamie Cohen. Available in stores or by calling [800] 748-5804.)

Willie Talburt is a bouncer / screenwriter who spends his time hanging onto people who are the flotsam and jetsam of the entertainment industry while scrambling for his Big Break. These people are callous and decadent and long ago surpassed their quota ofseven deadly sins per person. And some of them may have committed a murder.

Baer, who was obviously influenced by Raymond Chandler, is most interesting when he carries us away with a stream of consciousness buoyed by literary allusion. However, his style is decidedly adult and the content is often sexual, so keep this one away from the kiddies.

It is too bad that Cohen was unable to get a handle on the material. He has a deep voice but could not deliver the myriad accents he attempts. While some are realistic, others are little better than annoying. More disappointing are the sex scenes, as he destroys all eroticism with his flat delivery.

Other Audio is a tiny company with a huge sense of style, as the packaging is superior to most on the market. The cassettes are housed in sturdy, clear plastic and the cover art is a depiction of the late Carlos Almaraz’s “Sunset Crash.” The huge cast of characters is helpfully listed on the inside cover, though the number of typos in that list is decidedly amateurish.

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Another L.A.-inspired humor fest can be heard in “Misadventures in the (213),” by Dennis Hensley. (The Publishing Mills; abridged fiction; two cassettes; three hours; $18; read by the author and a full cast that includes Kathy Griffin.)

Originally published as a serial in Detour magazine, this catty, gossipy romp through Tinseltown focuses on a would-be screenwriter and his high jinks with famous friends and unknown wannabes. Hensley writes of auctions featuring celebrity garbage. He delivers the scoop on flaky actresses and the sheiks who love them. However, this starts on a cutesy note, and remains slight and light from beginning to end. The banter may be merry, but it offers as much substance as whipped topping.

The performers’ voices are varied and sprightly, though Hensley is a bit over the top as his alter ego, a screenwriter named Craig. Then again, the material is all exaggeration and fluff, so his emoting is not the problem it could be.

This is a full production replete with sound effects ranging from background chatter to crass bathroom noises. Unfortunately, the entire audio sounds as if it were taped in a tunnel, as a strange reverberation is ever present. One gets used to it, but one shouldn’t have to.

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Rochelle O’Gorman reviews audio books every other week. Next week: Margo Kaufman on mystery books.