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Aspirations and hopes of the new generation have changed dramatically from the 90s to 2010. The youth of today are concerned more with bread-and-butter issues than rabble-rousing rhetoric. In these circumstances,the broad-based hope for a mature reaction to the Babri verdict is expedited.
Cases involving child porn, computer hacking, computer fraud, telephone records and all cases that require the forensic examination of data storage devices now will be completed more quickly for the county's police agencies, Umholtz said.
Theatre Review by Matthew MurrayIt can't be easy making pornography boring. But the new production of PaulaVogel's play Hot 'N' Throbbing at the Peter Norton Space manages to do justthat.True, it's not the primary focus of the play; Vogel is more concerned withthe potentially fatal nature of violent, uncontrollable attraction. Butshouldn't scenes intended to be sexy at least come across as slightly moreerotic than paying your taxes? This production - which completes theSignature Theatre Company's season dedicated to Vogel - is made distinctivenot only by its glacial coolness and its inability to throb, but itscomplete lack of even a basic pulse.Despite the nearly Herculean efforts of director Les Waters to spice up abland stew of an evening, this Hot 'N' Throbbing is bearable for, at most,its first 30 minutes. Until that point, the story about Charlene (LisaEmery), a screenwriter of feminist porn (sorry, "adult entertainment")trying to raise her children Leslie Ann (Suli Holum) and Calvin (MatthewStadelmann) with some sense of responsibility and values, is mildlyintriguing. As Charlene desperately tries to complete 40 pages of herlatest work by the morning, voiceovers (provided by Rebecca Wisocky and TomNelis) elucidate not only the words she's writing, but her state of mind andinner thoughts. It's a familiar device, but as staged by Waters and lit byRobert Wierzel, who floods the stage with intense washes of white and bloodred, is at least visually alluring.But from the moment Charlene's ex-husband Clyde bursts through the frontdoor of Mark Wendland's impressively realistic suburban house set, the playbecomes irreparably unhinged. It's not just that unfolding events findCharlene shooting Clyde, before falling for him all over again, though theclichéd way in which that happens and the predictable end they both meetdon't suggest much innate originality. The problem is that the actorplaying Clyde, Elias Koteas, gives the most singularly unconvincingperformance of this season, or many others in recent memory.From his initial drunken wails as he pounds on the front door, Koteas is atvariance with humanity. Tapping into Clyde's inner animal might beappropriate for the base, unglued character, but Koteas does little morethan indicate every feeling: he indicates inebriety, anger, and variousfeelings for Charlene. Yet when, minutes later, Clyde is wounded by abullet to his buttock, Koteas spends scant seconds of the next 60 minutesindicating even mild pain, and then in the constipated manner of a collegeacting student who not only has never been shot, but has never seen a gun.He acts entirely through constricted-throat whining and strategically placedblood packets, and winces his way through the remainder of the show, whichdeals almost entirely with the Clyde-Charlene pairing. Emery tries tomaintain some dignity in their scenes together, but is eventually suckedinto Koteas's void of unbelievability. As the play progresses and weexperience the myriad dysfunctions of their relationship, Emery becomes lessable to portray Charlene's conflicting needs to feed her family, satisfy herravenous artistic soul, and fulfill her own sexual longings with the one manshe should never give a second glance.Holum, who does a considerable amount of exotic dancing (David Neumann isthe choreographer) in minimal amounts of clothing (Ilona Somogyi designedthe costumes), can't capture Leslie Ann's cracked innocence; she looks andacts 15 years too mature for most of her role, though she handles herselffine in a brief scene set a decade after the play's primary action. Muchbetter is Stadelmann, who never loses sight of his character's precocious,awkward nature, and finds easier humor and pathos in his role than anyoneelse can manage.Wisocky and Nelis are at their most effective when at their most subtle.They're made up to look like a bondage queen and a hard-boiled detectivefrom the same film-noir detective flick, and frequently prowl the set likestray alley cats; they better contribute to the creepy delusions of thestory (and Charlene's flustered mind) when simply whispering into theirheadset microphones. (The terrific sound design is by Darron L. West.)But a truly suffusive atmosphere to make all these elements coalesce intosomething provocative is absent from the proceedings. This gives the showan aimless, circuitous feeling; it tends to ramble on and on in search of apoint that it never finds. Unless, that is, you consider Vogel's message tobe that unhealthy love is, well, unhealthy, or that restraining orders onlywork when they're respected by all parties concerned.In either case, the play doesn't cover much new ground. Most attempts fromVogel and Waters to give the play a deeper, more psychological meaning fallflat, and certain things - such as the reason the set's walls and doorsstart pulling away from the main action - defy easy explanation. If nothingelse proves as questionable as Koteas's casting, what Vogel and Waters wereaiming for is never fully made clear - or interesting - in this mounting ofHot 'N' Throbbing._____________________________Signature Theatre CompanyHot 'n' ThrobbingThrough May 1Running Time: 90 minutesSignature's Peter Norton Space, 555 West 42nd StreetSchedule and Tickets: 212.244.7529 Share: 041b061a72
