Carla Neuss’s Revival, now in a world-premiere run in West Hollywood, is an odd, whimsical play about the patrons of a snobbish bar (handsomely designed by Yuri Okahana) that has an other-worldly feel to it. More sanctuary than saloon, as one of patrons insists, the place operates under some strict rules. First, no vodka can be served (because it has no flavor); second, men must not speak to women unless invited by the latter; third, you must tell a story if you wish to get served.
The man in charge here is Crispin (Ben Moroski), a bartender who mixes drinks with all the flair and fanaticism of a medieval alchemist. He is also a stern and demanding taskmaster, one who tells everyone how to behave, even what to think. In return, he promises to transform their mundane lives with his mystical cocktails.
Crispin’s clientele is comprised of Tyler (Victor Gurevich), a spoiled but opinionated rich boy; Fred (James Svatko), a disillusioned pastor; and Jo (Adrienne Whitney), a part-time college girl, part-time hooker. Joe Martone plays all three of her johns (Hopkins/Mansfield/Robert).
With such an original premise and with so many raffish characters to draw on, you’d think that Neuss would be able to make Revival take flight; unfortunately, her play remains earthbound for much of its near-two-hour duration. The reasons for this are many: no narrative spine, no urgency, no real drama. That might not have been a major problem had Neuss cut her play down to one-act, half-hour size, allowing the poetry and charm to shine through. Instead, she buries those ingredients under an avalanche of verbiage; her drink-seeking characters simply tell too many stories, turning the play into a repetitive talk-fest.
Also, Revival might have worked better had the playwright not directed her own work; a third eye was desperately needed here.
