SUN-FRIED DYSFUNCTION IN TEXAS
The scorching sun in Maynard, Texas stirs up bales of humor and chaos among some small-town residents, yet the stars in the desert sky cast a spell over the lives of these 
beleaguered “sad sacks” inevitably. The latter observation about James McClure’s LAUNDRY & BOURBON / LONE STAR double bill, compliments of the oft-admired company known as The Group Rep, explains the depth and breadth of these two plays, deserving of must-see status. The public would be wise to catch these actors airing their dirty laundry because each and every one is extraordinary. They generate as well as survive heat onstage thru March 3 at the Lonny Chapman Theatre in the NoHo Arts District (North Hollywood).
LAUNDRY & BOURBON features three ladies sorting through laundry, dismantled dreams, rivalries and friendship while drowning their sorrows in a bottomless reverie of bourbon & coke with explosions of pettiness sloshing their drinks along the way.
First, the audience meets “Elizabeth” (Savannah Schoenecker) staring in the distance 
and awaiting – we learn later – a certain ‘59 pink Cadillac not seen in quite a few days in these here parts. Her husband “Roy” had flown the coop, still reeling from the residue of his Vietnam Era military experience while unable to recapture the glory of his small town, hero status. She appears to be forlorn.
The doorbell begins ringing over and over again…annoyingly. Into the backyard swoops best friend “Hattie” (Kristin Towers-Rowles) to commiserate with her cohort (she notices immediately that Elizabeth is dispirited) and proceeds to jabber, advise and raise the temperature; she is much more than a garden variety sidekick. Hattie proves to be a force of nature, whooshing to and fro – a tornado of energy with opinions ready for delivery no matter the subject. Humor bounds unfettered on subjects such as their men, their boredom, Hattie’s brood of children, dreams, regrets…and more about Hattie’s kids. Call in the bourbon to accompany the routine of laundry folding.
All the while Elizabeth clings to her worries about the status of her relationship with Roy
and how things may play out as they both memorialize the life decisions that have deposited each of them in this place. The veneer of happiness, enlivened by the generous servings of bourbon, cannot hide from the audience the trials of small town life as they continue to bake in the scalding sun.
Glory be! Another visitor? At this juncture “Amy Lee” (Sarah Zuk) joins the gals in the backyard, surely kicking away the tumbleweeds as she delivers a large carton containing an air filter for Elizabeth’s broken-down AC unit. It seems as if – actually – Amy Lee may just need a dose of companionship with Elizabeth. She carries the hoity-toity “honor” due a wife of an upstanding man in the community (“Cletis” after all, owns the town appliance store). Her heightened society status in the town annoys the hell out of Hattie and that generates some feisty fireworks between the two. Interestingly enough, though, the mundane elements of a sheltered, yet lonely existence simmers and percolates among the three without distinction. Bourbon & Coke (mostly bourbon, it seems) loosens the lips of these highly distinctive 
Maynard shut-ins much to the enjoyment of the onlookers visiting the Lonny Chapman Theatre this evening. At least, they remind us, they’re not “Okies”.
At intermission, the audience receives the benefit of watching the crew dissembling some elements of Chris Winfield’s crafty set design with Kyra Schwartz’s set dressing, quickly followed by the assembling and altered set dressing for LONE STAR. The backyard of Elizabeth & Roy’s dwelling transforms into the outside “patio” of a town watering hole.
These two plays need not necessarily be on the same bill. Two of the three guys in this
production have already been introduced to us via their wives. In fact, the action probably occurs on a different day. It seems that director Barbara Brownell originally intended LAUNDRY & BOURBON to shoulder an alternate “pardner”. The fact that LONE STAR centers only on three men – even though there is definitely resonance between the two scripts – demonstrates that this creative theatre artist has her finger right on the money in both plays despite the character gender change.
Here the audience discovers “Roy” (Nick Paonessa) drowning his sorrows in suds provided by Lone Star Brewing. He is assertive, demonstrating a bearing not shared by his younger brother “Ray” (R.J. DeBard) who appears more cowering and dependent. (Parents love to do the naming thing with their children (i.e. “Roy”/”Ray”). If there were girls, they’d undoubtedly be named “Rhea”/”Reba” or the like. Yes, Mr. McClure is spot-on in naming these brother characters this way.) But I digress.
Ray, a “greasemonkey” of sorts, worships his brother’s reputation in town and values his
familial bond with Roy and vice versa. However, his childhood friendship with “Cletis” (Todd Andrew Ball) is a source of friction between the two. Even though Ray is in Cletis’ corner, Roy, conversely, won’t have it. Despite Roy’s disgust for him, Cletis repeatedly tries to cozy up to the big shot despite their strained relationship when he appears onstage after some boisterous bonding between the brothers. Physical shenanigans…a swig of Lone Star…favorite candy bar…another swig of beer…jointly howling like wolves…shoving each other…another candy bar…jovial reminiscences…another swig of Lone Star…staggering bravado mixed with limited vulnerability…brew down the hatch, etc. Get the picture?
At this juncture the audience begins to value that previously mentioned resonance between the two scripts, especially in the Elizabeth/Roy actual relationship. How strong is the connection? Where does the fault lie in consideration the failings in the marriage? Why am I here? Where am I going? See…just a little peek into Roy’s vulnerability emerges. To a much lesser degree, we gain a few insights into the Amy Lee/Cletis coupling, although it can’t be denied that there does seem to be a parallel in considering Amy Lee’s impact on the three-way relationship in LAUNDRY & BOURBON just as one considers a similar impact 
of Cletis on the three-way bond in LONE STAR.
All of the players on both sides of this double bill create something very special on the Lonny Chapman mainstage. These are two highly refined ensembles at work. Consummate work from some brilliant actors. Joining their world in Maynard was a privilege for this critic.
Kudos to producer Lloyd Pedersen for shaping this extraordinary production. Director Brownell wins big time with these actors and actresses. Likewise, both have assembled an exceptional production team. In addition to the previously mentioned professionals, these include Angela M. Eads (costumes), J. Kent Inasy (lighting) and Steve Shaw (sound). And finally, a deserved shout out to the always unsung Stage Manager John Ledley and 
his crew.
The blazing sun gives way to the beckoning Texas sky resplendent in glistening stars. These inhabitants of Maynard in the late 70’s wend their way through life’s travails, yet they still treasure their dreams no matter how small. At least all of them can thank their lucky stars the’re not “Okies”. Hear the clink of three glasses of bourbon (most of the laundry can wait to be folded). Listen in on a solid clink of three bottles of Lone Star…and maybe a wolf howl or two as well!
