Alan Rosenberg and S. Epatha Merkerson star in William Inge's classic "Come Back, Little Sheba," staged by the Center Theatre Group a the Kirk Douglas Theatre in Culver City. Few images are lonelier than that of S.
Epatha Merkerson's Lola Delaney, the phone at her ear, asking her mother on the other end of the line to come home until she can sort things out with her violent drunk of a husband. Moments of comparable emptiness may, in fact, be unfolding on stages across the Southland. I doubt it, but it's possible.
The "Law Order" and "Lackawanna Blues" actress who is quietly marvelous manages to infuse a kind of anti-hokeyness into Lola when she's calling out for the cherished puppy who disappeared years ago. William Inge's "Come Back, Little Sheba," directed by Michael Pressman at the Kirk Douglas Theatre, is displaying its many creaks, but with a pro like Merkerson at its center, even Inge's sour notes can come off downright melodic. With every visitor no matter how mundane Merkerson's Lola positively springs to life, chatting up even the judgmental next-door neighbor, Mrs.
Lola's rambling monologue to the postman (Lyle Kanouse) even drew some laughter at the opening performance. The marriage of Lola and her chiropractor husband Doc (played by Alan Rosenberg) already built on an unstable foundation has, after 25 years, settled into an uncomfortable stasis. Doc quit drinking a year ago and has long since abandoned any dreams.
Lola chirpily sends him off with a kiss and exhortations to recite the Alcoholics Anonymous serenity prayer. She calls him Daddy. He calls her Baby.
They are childless. Husband and wife are equally transfixed by the overt sexuality of their college-age border, Marie (Jenna Gavigan). Bottled-up Doc, with his old-fashioned ideals, can't face it.
Pressman lays the alternating heat/chill balance out for all to experience. The multiple rooms of James Noone's double-level set are left exposed, allowing us to see Marie and her boyfriend Turk's (Josh Cooke) canoodling. Dressing and undressing always tastefully handled is visual as well.
Costumer Jennifer von Mayrhauser does right by Doc's spiffy suits and Lola's house smocks. In Gavigan's hands, Marie seems to know exactly what effect her coyness has on gentlemen young and not so young. Where her rousing of Doc is concerned, Inge turns Marie into something of a naif, but Gavigan is playing the character savvier than that.
Lola, of course, recognizes the potential havoc the girl may wreak, but she's too weak to try to stem it. Until called upon to uncork, Rosenberg can't really tap into Doc's inner rage, suggesting instead a guy who would be fine with a few extra late nights at the office instead of so much alone time with his dowdy wife. When Doc finally does blow, the scene comes out of nowhere and isn't really as powerful as it should be.
Equally absent: any vestige of warmth or affection from husband to wife. We get Inge's whole "youth is lost, never to return" overlay (how could anybody miss it), but really it's a wonder Lola didn't place that phone call years ago. Of course, if she did, there would be no "Little Sheba" to come back to explore.
If a chestnut like this is what it takes to lure an S. Epatha Merkerson back to the stage to say nothing of getting classics revived at Center Theatre Group then by all means, bring 'em on.
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