PicksInSix Review: Sons of Hollywood
Hotter Stars Burn Brighter But Faster
Guest Contributor | Scott Gryder
It was a glamorous to-do at the Windy City Playhouse’s world premiere engagement of “Sons of Hollywood” on Thursday night. Complete with an actual trickling fountain and lush-life, leather VIP seating in the first two rows, a stunning Hollywood villa welcomed us to the theater. The sounds of the Jazz Age filled the venue, and we were set for an evening of decadent storytelling.
Directed by David H. Bell, “Sons of Hollywood” takes us behind the scenes of 1920’s Hollywood and into the very personal lives of silent film stars Ramon Novarro and William Haines with their closest friends, enjoying the extravagance that fame can bring. And with that fame, comes power: apparently, the power to pursue whatever style of personal (and sexual) life that you’d like. But with the introduction of the Motion Picture Production Code, their glamorous lives begin to unravel as certain designated obscenities are squelched and perceived miscreants are plucked out of screenland.
With their polished good looks and poise, the cast brings to life long gone famed icons of the silver screen. As Ramon Novarro, Trey DeLuna serves puro carisma. Every character quickly falls under his spell as he almost vampirishly stalks his prey. Adam Jennings brings golden boy charm to his William Haines, holding court with a booming voice and he-man facility. The dapper ensemble of Ben Dow (Randolph), Jonathan Connolly (Tom/Ensemble), Kyle Patrick (Jimmie Shields), and Max Stewart (Louis B Mayer/Herbert Howe/Weber) fills every level with characters, both bewitching and foul, though it’s Abby Lee’s Lucille LeSuer, armed with quick quips and panache, who steals scenes and warms hearts with her Kewpie doll Joan Crawford flair.
Although an enticing endeavor to dig deeper into the secret lives of Hollywood legends, playwrights Carl Menninger and Barry Ball deliver scenes with an aggressive intercutting that jerks us on-location between soundstages, homes, and clubs. Most curious is the careless nature of Novarro and Haines when on set. They discuss behavior labeled as forbidden quite openly and display tantrumed outbursts about their sexual lives, while we assume the movie set is filled with a team of directors, producers, and crew well within hearing distance. Were these artists so untouchable at the time that such behavior was tolerated in tinseltown? Regrettably, the plot begins to deflate with the introduction of the show’s villain, the Motion Picture Production Code, for the passing of time is hardly delineated, which causes confusion in the current careers and mental state of each character.
The creative foundation of “Sons of Hollywood'' is scenic designer Lauren Nigri’s elegant multi-level villa. The towering residence engulfs the stage, providing a formidable backdrop for captivating movie scenes, dens of forbidden entertainment, and the intimate platform for Max Fabian’s provocatively staged moments of intimacy and destruction. Costumes by Sydney Moore were spot on! Lucille’s flapper dresses and red carpet looks were breathtaking, and every single suit on stage fit to a T. And while Willow James’s sound design provided perfectly period ambience, the volume could have been better balanced across the space. Applause was almost inaudible, but the canned accompaniment was overly bassy, so as you couldn’t hear the singers. Perhaps the use of a vintage microphone would have afforded amplification and 1920’s style.
Like a supernova, the stars of “Sons of Hollywood” burn out too quickly, and their legendary careers are laid to rest with a red carpet exit. But, it’s the intriguing journey, and the movie memories they’ve gifted us that consoles us as their Hollywood sun sets.
GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com
PHOTO|Michael Brosilow
WINDY CITY PLAYHOUSE
presents
SONS OF HOLLYWOOD
through April 16, 2022
3014 W Irving Park Rd.
(773) 891.8985
WEBSITE
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