The Honking Geese is produced and directed by Dallas McLaughlin. The sketch comedy is written and performed by Nick McCann, Dallas McLaughlin, Sean O'Donnell and Brad Davis. The pieces are collectively billed as “Sketch comedy gone wild.” This is a bit of an understatement. The various pieces are quite different and produce an interesting audience response that, many times, is age-based. Some bits appeal to the general audience; some are only appreciated by the younger members. Well, something for everyone.
Big Balls is a collaborative effort by Allyson Collins and Matt Scott. Scott, seated on a park bench attempting to read his paper, is constantly interrupted by Collins on two exercise balls. There is much to be said for her brashness, for she is pushy, domineering, rude, and an alleged woman of color under her white skin. Her stories are a strange fantasy. This bit is weird, but strangely compelling.
The Chalky White Substance is a Tennessee Williams classic. It is directed by Noell Tarpey and produced by Joey Landwehr, who also acts in it with Nick Mata. Williams' take on the post-thermonuclear war scene makes Stanley Kramer's 1959 epic "On the Beach" look like a Sunday-School picnic. A scary look into an alternative future.
Up to Now is written and produced by Julianne Eggold with Barbara Cole directing, and Julianne Eggold leading a cast, which includes Kelly Lapczynski, Laurie Lehman-Engel, Dave Rich, and Mekel Taxer. Eggold explores her character's life from early childhood to the present. Along the way, we meet the people that have influenced her, tried to guide her, and tried to mold her into their image of her. Alas, she is her own destructive self. While there are small elements of humor, this is a serious piece platforming Eggold's talent as well as that of the rest of the cast, some of whom had several roles.
The Statue of El Cid, directed by Sandra Ruiz with Nick Mata writing, producing and acting. The principal character, Victor, is gay with issues issues of admission. One serious issue is his recent pummeling in Balboa Park by a group of gay-bashers, which lands him in the hospital and his arm in a sling. He now refuses to leave his home. His life-long straight friend chides him back to having a spine. Mata's performance is electrifying. His change from one character to the other is absolutely complete. The friend is demonstrative, outgoing, head-high, and all over the stage. Victor is protective, inward, almost crouching at times, eyes averting from everybody, fear exuding from his every pore. Excellent performance.
