Victor’s (Donnie Smith) life cannot get any worse. His father is the saddest man in the world, his wife—and cousin—hates Victor with such ardent passion, his sister is tragically in love with her dog, and the devil occasionally possesses his mother. Filled with dark, sophisticated humor, “House” perfectly showcases the squalid world of an unlucky man through the bold writing, the talented Smith and the psychedelic lighting.
Playwright Daniel MacIvor dives into the unfiltered mind of a failing man. Without immediately realizing, the audience becomes Victor’s self-help group. As he laments his deteriorating mental state, Smith repeatedly breaks the fourth wall, climbing into the stands and waiting for replies to rhetorical questions. When the audience laughs at his inquiries, he stares down the members and says, “It’s not a show. It’s my life.” Gritty and real, “House” creates an honest conversation between the audience and the character, leading to a profound understanding of what it means to hopelessly fail.
As “House” progresses, Smith’s artistic mastership is revealed. His perpetual nervous twitch depicts the character’s decreasing stability. His blunt interaction with the audience shows his desperate search for approval. His scoffing attitude towards his acting profession is ironic and engaging. All the while, Smith’s punctual delivery accentuates an in-depth character study. Even though Victor’s reality is crumbling all around him, Smith’s performance is outstanding.
On command, the lighting changes to accentuate the writing and the acting. With a snap of Smith’s fingers, the lights oscillate from blue to red to purple to white. Telling a different aspect of his story during each color, Victor exhibits difficulty of telling the truth from the lies. When the lights change, the audience is prepared for Victor’s wild anecdotes and deranged asides, whether valid or not. Thanks to artistic director John Perrin Flynn and director Brian Nitzkin, “House” displays manic neurosis in an easily digestible form.
No detail is overlooked in “House.” The acting is superb, the lighting psychotropic, the stage dreary, the attire fitting and the writing impeccable. Although the subject matter is not for everyone, this one-man show funnels the creative energies of the entire cast and crew to actualize an intense and provocative play.
Playing at Theatre/Theater, Rogue Machine’s “House” will continue its run until September 1. Tickets cost $20 at 855-585-5185 or www.roguemachinetheatre.com. The theater is located at 5041 West Pico Blvd. in Los Angeles.
Natalia Evdokimova has been involved with theater throughout her life and has reviewed theatrical productions for local and citywide publications since 2005.
