DELVING INTO THE MORES OF A SOCIETY
Expectations. I take my seat and anxiously await the beginning of today’s main course: the Actors Co-op production of ANNA KARENINA at the Crossley Theatre in Hollywood. Suspicious I am that I’ll be stuffed to the brim with plot details and characterizations that will give me indigestion. My hope, though, aims for higher ground – i.e. a heavy dose of theatricality. On reflection, Dale Wasserman succeeded in condensing Cervantes’ 1000 page DON QUIXOTE into the fulfilling MAN OF LA 
MANCHA. So, why can’t Helen Edmundson hit the mark similarly with Leo Tolstoy’s 900 page opus, I ask myself? This day’s ensemble feast, within the confines of the Crossley black box, will tell the tale, I suppose, scheduled to be told again and again thru March 23 by these fine actors.
The dance begins, a sweeping exploration.of 19th Century Russian life, Tolstoy’s social conscience, his evocative language and universal themes of love and marriage often turned on their head. Appearances, constancy, betrayal, passion, competition, temptation – all of these coalesce into a somewhat satisfying, yet flawed theatrical experience. In this case, Ms. Edmundson muddied the waters so to speak. Grasping at the dizzying scope of the piece is an audience gasping for clarity, connections, changes of scene, character evolution, etc.
“Where are we now?” is the entreaty we hear time and again to lead the audience to a new setting or circumstance. This critic loves the adventure of sorting out the relationships and interactions among various characters. In every instance when I hear this question, it suggests artifice and immediately yanks me out of the drama. Honestly, though, too much may be expected (an inner voice reminds). Can an ensemble of eight do justice to the challenge of interpreting this story, even allowing for the adapter’s narrowing of focus for our benefit?
These actors surely speak to the depth of talent in the Actors Co-op’s company. They address the challenges of the script with a shorthand which can only be explained by veteran players used to similar experiences. A cursory reading of their bios provides the evidence.
Joseph Barone impresses from start to finish as “Constantine ‘Katya’ Levin”. Earnest in word and deed, he brings intensity and understanding to his role whether in advocating for peasants, pursuing “Kitty”, registering disappointment or interacting with “Anna”.
Likewise, Bruce Ladd embodies the civil servant “Alexei Alexandrovich Karenin” to the core, highlighting his obliviousness, his reflection of societal moral obligation and his steely resolve.
The remainder of the ensemble does its duty, given the limitations of the drama. Two qualifications to the above should be noted. Eva Abramian as “Anna Karenina” struggles mightily early on to portray Anna’s sense of drudgery, yet her elevated station, as she is trapped in her circumstances because of moral constraints. Later, she seems to more accurately capture the reckless abandon of Anna. Also, Garrett Botts occasionally disappoints in the role of “Count Alexei Vronsky”. If he is to serve believably as the enticement to both “Kitty” (a charming Ivy Beech) and Anna, the actor needs to up the ante on the dashing component of his characterization. Perhaps, though, that is just this critic commenting through a 21st Century lens.
Lauren Thompson, Michael Worden and Deborah Marlowe demonstrate distinctive character work as well with a deserved shout out, in particular, to Ms. Marlowe’s “Railway Widow”. Memorable.
Director Heather Chesley manages a yeoman’s job not only with her coaching of some notable dramatic work from this ensemble, but her creative vision also deserves praise (and she excels as a traffic cop, too).
So, there were ample opportunities for acting largesse in Tolstoy’s characters as interpreted by this playwright. No question, though, that it proves to be a tough slog at times for this audience member yearning for a much larger dose of theatricality than this version offered us.
