Tomahawk
Tomahawk, the musical play by James Domine (based on his novel, The Naked
Man) featuring "The Screaming Clams," has much potential to become
a cult smash!
"The Screaming Clams" (Jimi Dee on guitar, Joel Domine on keyboards,
and Larry Muradian on bass), a San Fernando Valley-based blues garage band,
unquestionably steal the spotlight from the stage.
The story of Tomahawk is described in the program as a "quest for truth
And what happens as a result of its absence." Throughout the THREE HOURS of
comedy mixed with drama, we witness manipulation, deceit, jealousy,
obsession, power-hunger, greed, and murder all set in (where else?) Los
Angeles, California.
The cast of thirteen is mostly in need of professional acting classes, but
there were a few outstanding performances. Christopher Jones, as Officer
Canaday, is a naturally funny actor who flawlessly portrays his role as if
he is fresh off the set of Reno 911. Amy Jennings has some exceptional
moments as lesbian stalker, Officer Presley. Jennings is certainly a force
not to be reckoned with. Debbie Starvitsky, as drunk bar-stool-warming Mama
Cass, is unforgettable, unsurpassable, and undeniably the most impressive
(older--er--over-60) actress on any stage currently in L.A. Starvitsky
performs her songs with such ease and comfort, you're convinced she has
more experience on stage than everyone times two.
On the other hand, Michael Fox (Dogue) has endless facial expressions that
would make Jim Carrey cringe. Fox is certainly not terrible, but there are
times where he needs to listen with his brain rather than his face. He tends
to steal focus from the opposite side of the stage, where important dialogue
takes place. Jessie Salas (Elbee) performs with confidence. However, on
several occasions, she is caught watching the band rather than listening to
the character who is singing.
I wondered the entire THREE HOURS where the heck the director, James Domine,
was during the week prior to opening night. There were dozens of line flubs,
flawed continuity, lack of connection, and "poor"-formances that could
have been strengthened with only one open eye.
For example, when Elbee asks the bartender (Brian Hall) for pink champagne,
he asks, "Is pink a color or a flavor?" As he sets the drinks on the table,
it is not pink, but fruit punch red. There were so many of these simple details that
they added up just enough to aggravate me. I'm not saying they didn't put very hard work
into this production. That fact is quite apparent, and they should be commended.
First-time director, James Domine is a very talented writer. Well known for
being a veteran musican, he is sometimes noted as being responsible for
originating culture to the San Fernando Valley. However, this is a perfect
example of why restaurant servers are not allowed in the chef's kitchen.
Put this script in an off-Broadway producer's hands, and it will become a cult smash!