L.A. PRODUCTION / REVIEWS
LA WEEKLY’s Bill Raden (11/14/12) on the concept:
Playwright Terry Quinn’s bleakest of black comedies
resides in a savagely misanthropic literary suburb where friends
and neighbors go by names like LaBute and Albee and Strindberg.
It’s the kind of neighborhood where deception and sexual betrayal
are as ubiquitous as backyard barbecues, and where words not only
cut like a knife but are also usually wielded with a homicidal intent.
Act One features a lacerating coital dance of death by Glory Simon
and James Wagner (in a marvelously malign duet) as marrieds whose
mutual contempt has become a bitterly sadomasochistic conjugal embrace.
CITYSEARCH WILL CALL (11/13/12) on the Act One performers:
The title suggests a whodunit crime story. Instead, Bad
Behavior might have been more apt. What we’re dealing with
here is a group of unhappy people involved with each other on rather
nasty terms. The first act’s most prominent prop is a bed
belonging to Leah (Glory Simon) and Richard (James Wagner), a couple
in a marriage from hell. They antagonize one another even while
having sex! Their issues are mistrust and jealousy, as they dissect
last night’s bust of a party, given for several friends and
Simon, as a wife who hides her wounded heart beneath a barrage
of insults, is especially moving as we watch her mellow in an effort
to rekindle a spark of the old flame. Wagner brings a soft edge
to the role of her husband.
These people may annoy you but they won’t bore you. The dialogue
stings and bites with the ferocity of an angry cobra and is flawlessly
LA WEEKLY’s Iris Mann (11/4/12) on the Act Two performers:
Mercy Malick’s wild, seductive, smooth and multilayered
work is largely responsible for bringing life to the second act.
Ryan Fox gives a full-blown, varied, frequently amusing performance
as the apparently stiff politician who is terrified that constituents
may learn of his dalliances but slowly lets his hair down, to the
point of snorting some coke. Justin Sintic has a magnetic stage
presence and projects a fascinating sense that there is turmoil
boiling beneath the surface. Chuck Raucci is totally uninhibited
as the life of the party yet has a genuine moment of vulnerability
when his character fears that he is being disdained.
ACCESSIBLY LIVE OFF-LINE (11/5/12) on themes and direction:
Bad Evidence, a dark drama about dubiosity and
allurement, makes its West Coast premiere at Hollywood’s Elephant
Space theater. Playwright Terry Quinn spins a tale that is biting,
intense and hostile, without excessive violence. (The mayhem is
more in the words than the actions.) Katie Sabira Rubin directs
this two act, whose intensity never quits. Each scene shows deep
VIVA LOST ANGELES’s Fayeruz Regan (11/11/12) on L.A.
Angelenos should see Bad Evidence, playing at
The Elephant Theater in Hollywood. If we thought we were being tested
here in the Porn Capitol of the World, you should see the mess these
New Yorkers get themselves into. I left the theatre both relieved
and uncomfortable. Relieved that it was only a dream, and uncomfortable
because the characters surge dangerously close to territory that
married couples steer far from. When actress Glory Simon confronts
her spouse about an affair, or even an attraction that may lead
to an affair, you wish she hadn't asked. The air is electrified
and they're both so vulnerable. You hold your breath and hope he
will lie. Lying is the nice thing to do.
Bad Evidence has the domestic sparring of Who's Afraid
of Virginia Woolf? and the antics of Laguna Beach.
You should see this play not only for entertainment, but to feel
better about your own relationships.