By Ernest Kearney — CC Sheffield’s story is pretty standard stuff at any Fringe:
The (SELECT SUBJECT: Son – Daughter – Transgender Offspring) from a devout (SELECT: Faith, Creed or Cult) family disobeys her (ADJECTIVE: Strict – Insane – Dying – Etcetera) (SELECT: Mother – Father – Uncle – Etcetera) to seek (OBJECTIVE: Fame – Fortune – The Legendary Lost City of Llareggub – Etcetera) in (DESTINATION: Hollywood – Paris – West Covina – Etcetera) as a successful (OCCUPATION: Actor/Actress – Dancer – Snow Master on GOT – Etcetera).
In Sheffield’s case it is the ever popular and, I fear, somewhat run of the mill tale of daughter, Mormonism, strict, mother, Hollywood, actor/actress.
The deficiency of Mormon Playgirl, on stage during Hollywood Fringe Festival month at The Complex Hollywood, is in its lack of a structural arc and being nearly devoid of any dramatic intensity; which together contributes to making it seem like a series of flashcards being presented to the audience.
Domineering mother – Flash –
Strained relationship with father – Flash –
Manipulating personal manager – Flash –
Courtney Love is a bitch – Flash –
Harvey Weinstein wants a massage – Flash –
Not that the show is dismissible or Sheffield without talent.
Some of the writing, credited to Zara Burdett, is very clever. In speaking of Sheffield’s overly religious mother, her truck driver father says –
“She doesn’t think you’re a whore,
she just says that.”
There is also originality to be found here, which unfortunately functions as a two-edged sword that benefits Sheffield but undercuts the show.
The choice was made to present the narrative of Sheffield’s adventures in Hollywood entirely through the second-hand recollections of others, a ploy reminiscent of Citizen Kane only without Kane.
Without “Kane” the audience is shown none of the character’s contradictions with which to spark their interest or allow for them to become emotionally invested. I doubt this was Sheffield’s intention.
Nor could she counter-point the exterior observation of others to heighten tension, as Welles did by resorting to Brechtian devices to enforce the audience’s sense of alienation.
Or to put it another way, you can’t run a camera through a parrot on stage.
But while this device hampers the piece, it does give Sheffield the occasion to show off her chops as a character actor, which, to say the least, are impressive.
Sheffield is far better than this show and at some future date, with a skilled dramaturge and director, I’m certain she’ll demonstrate this.
But for now, a low –
SILVER MEDAL
For Schedule of Events, Plays and Fun Times at the Fringe: https://www.hollywoodfringe.org/
For Complete Mormon Playgirl Info and Reservations: http://hff19.org/5768
